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OF   ENGLISH   TEXTS 
GENERAL   EDITOR 

HENRY   VAN    DYKE 


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THE  JANSEN  SHAKESPEARE 


GATEWAY  SERIES 


•>».**• 

THE 


MERCHANT  OF  VENICE 


EDITED  BY 

FELIX   E.   SCHELLING,  PH.D.,  Lrrr.D. 

PROFESSOR  IN  THE  UNIVERSITY  OF  PENNSYLVANIA 


NEW  YORK- ."CINCINNATI.:. CHICAGO 

AMERICAN    BOOK    COMPANY 


COPYRIGHT,  1903,  BY 
AMERICAN   BOOK  COMPANY. 

ENTERED  AT  STATIONERS'  HALL,  LONDON, 


MERCHANT  OF  VENICE. 
W.    P.    II 


PREFACE   BY   THE   GENERAL 
EDITOR 

THIS  series  of  books  aims,  first,  to  give  the  English 
texts  required  for  entrance  to  college  in  a  form  which 
shall  make  them  clear,  interesting,  and  helpful  to  those 
who  are  beginning  the  study  of  literature  ;  and,  second, 
to  supply  the  knowledge  which  the  student  needs  to 
pass  the  entrance  examination.  For  these  two  reasons 
it  is  called  The  Gateway  Series. 

The  poems,  plays,  essays,  and  stories  in  these  small 
volumes  are  treated,  first  of  all,  as  works  of  literature, 
which  were  written  to  be  read  and  enjoyed,  not  to  be 
parsed  and  scanned  and  pulled  to  pieces.  A  short  life 
of  the  author  is  given,  and  a  portrait,  in  order  to  help 
the  student  to  know  the  real  person  who  wrote  the 
book.  The  introduction  tells  what  it  is  about,  and 
how  it  was  written,  and  where  the  author  got  the  idea, 
and  what  it  means.  The  notes  at  the  foot  of  the  page 
are  simply  to  give  the  sense  of  the  hard  words  so  that 
the  student  can  read  straight  on  without  turning  to  a 
dictionary.  The  other  notes,  at  the  end  of  the  book, 
explain  difficulties  and  allusions  and  fine  points. 

5 


6  Preface  by  the  General  Editor 

The  editors  are  chosen  because  of  their  thorough 
training  and  special  fitness  to  deal  with  the  books 
committed  to  them,  and  because  they  agree  with  this 
idea  of  what  a  Gateway  Series  ought  to  be.  They 
express,  in  each  case,  their  own  views  of  the  books 
which  they  edit.  Simplicity,  thoroughness,  shortness, 
and  clearness,  —  these,  we  hope,  will  be  the  marks  of 
the  series. 

HENRY   VAN   DYKE. 


BIOGRAPHY 

WILLIAM  SHAKESPEARE,  the  son  of  John  Shakespeare 
and  Mary  Arden,  was  baptized  at  Stratford-on-Avon, 
April  26,  1564.  His  father  was  a  substantial  yeoman 
or  farmer  who  became  the  head  alderman  and  bailiff 
of  his  borough,  although  he  later  fell  into  financial 
difficulties.  Shakespeare  was  probably  educated  at 
the  Stratford  Grammar  School,  where  he  learned  a 
little  Latin  and  less,  if  any,  Greek.  He  married  Ann 
Hathaway  of  the  neighbouring  hamlet  of  Shottery  when 
he  was  little  more  than  eighteen  years  of  age,  and  we 
hear  no  more  of  him,  save  for  the  birth  of  three  of 
his  children  in  1583  and  1585,  until  we  find  him,  in 
1592,  an  actor  and  playwright  in  London.  Shake- 
speare was  not  a  learned  man ;  he  lacked  that 
laborious  training  in  the  classics  which  Lord  Bacon 
would  have  considered  the  only  road  to  learning,  and 
it  is  unlikely  that  he  ever  acquired  that  proficiency 
in  modern  foreign  tongues  and  manners  which  was 
prized  among  the  fine  gentlemen  of  his  day.  But 
Shakespeare  had  what  has  been  called  "  an  experienc- 
ing nature  "  ;  whatever  he  saw  or  read  he  remembered 
and  gave  forth  at  will,  and  his  plays  prove  him  to 
have  been  an  exceedingly  wise  and  accomplished  man. 

7 


8  Biography 

We  do  not  know  just  how  Shakespeare  began  his 
London  career.  Like  other  playwrights,  he  doubtless 
acted  small  parts,  helped  to  mend  plays  for  revival 
and,  showing  talent  in  this  way,  was  speedily  advanced. 
Stories  have  been  insinuated  of  loose  habits ;  but  the 
stamp  of  industry  is  on  Shakespeare's  life,  and  his 
early  success  and  his  fidelity  to  his  family  belie  such 
tales.  In  1592  Shakespeare  is  alluded  to  by  the 
dramatist  Robert  Greene  as  a  rival  to  be  feared  for 
his  sudden  rise  to  popularity.  In  the  same  year 
Henry  Chettle,  another  rival,  declared  Shakespeare 
a  good  actor  and  an  estimable  man.  In  1593  Shake- 
speare dedicated  his  Venus  and  Adonis •,  which  he 
called  "  the  first  he  ire  of  my  invention,"  to  the  Earl 
of  Southampton,  who  remained  his  friend  and  patron. 
From  that  time  on  mention  of  Shakespeare  is  frequent 
in  many  books  and  documents.  We  do  not  know  as 
much  about  his  life  as  we  know  of  the  lives  of  men 
of  that  day  who  were  identified  with  the  court  or 
with  public  office.  But  we  know  as  much  about  Shake- 
speare, and  more,  than  we  know  of  any  of  his  contem- 
poraries similarly  circumstanced  in  life.  Shakespeare 
had  joined  a  company  of  actors  variously  known  as 
Lord  Strange 's  or  the  Lord  Chamberlain's  company 
in  the  reign  of  Elizabeth  and  as  the  King's  in  the 
reign  of  King  James.  This  company  acted  chiefly  at 
the  old  Theatre  and  at  the  Globe.  This  was  by  all 
odds  the  most  successful  company  of  its  age,  and  this 
success  was  largely  due  to  the  excellence  and  to  the 


Biography  9 

popular  appreciation  of  Shakespeare's  plays.  Shake- 
speare never  changed  his  company,  and  rose  to  a 
place  in  it  beside  Richard  Burbage,  the  greatest 
actor  of  his  time,  and  to  a  holding  of  the  largest 
number  of  shares. 

This  is  not  the  place  in  which  to  give  a  list  of 
Shakespeare's  plays.  Thirty-six  appeared  in  the 
folio  of  1623,  the  first  collected  edition ;  and  it  is 
likely  that  much  of  his  earlier  work  in  revision  has 
perished,  while  some  of  the  plays  printed  under  his 
name  are  not  wholly  his.  For  want  of  precise  in- 
formation the  exact  order  of  the  plays  is  unknown ; 
but  we  have  information  enough  to  affirm  that,  coming 
up  to  London  between  1585  and  1589,  Shakespeare 
continued  an  active  dramatist  for  more  than  twenty 
years,  and  retired  to  Stratford  about  1611,  a  rich  man 
on  the  product  of  his  plays  and  on  the  thrift  of  an 
honest  and  orderly  life.  One  variety  of  Shakespeare's 
work  is  the  chronicle  history.  Other  writers  wrote 
each  a  few  such  plays ;  but  Shakespeare  devoted 
nearly  a  third  of  his  time  to  productions  of  this  kind. 
In  them  he  dramatized  for  the  stage  the  reigns  of 
English  kings  and  appealed  to  the  patriotic  spirit  of 
the  nation.  The  chronicle  plays  were  written  for  the 
most  part  before  Elizabeth  ceased  to  reign.  Shake- 
speare's tragedies,  with  one  or  two  exceptions,  cluster 
about  the  later  years  of  Elizabeth  and  the  earlier 
years  of  King  James.  In  them  from  Julius  Ccesar 
and  Hamlet  (1601  and  1602)  to  King  Lear,  Macbeth, 


IO  Biography 

and  Coriolanus  (1605,  1606,  and  1608)  Shakespeare 
reached  the  height  of  his  dramatic  genius,  a  height 
still  unsurpassed  or  even  approached  by  those  who 
followed  after.  The  comedies  are  spread  over  a  wider 
space  and  began  in  1590  with  Love's  Labour's  Lost, 
extended  through  The  Merchant  of  Venice  (in  1594), 
which  has  been  called  "  the  middle  comedy,"  to  The 
Merry  Wives  of  Windsor  (perhaps  1598),  a  lively  and 
boisterous  comedy  of  English  life,  through  the  refined 
and  romantic  Much  Ado  About  Nothing,  As  You  Like 
It,  and  Twelfth  Night  (1598  to  1600  or  1601),  to  the 
serious  Measure  for  Measure  (1603),  and  the  ironical 
Troilus  and  Cressida  -(revised  perhaps  in  1607).  A 
later  group  of  "  romances,"  as  they  are  called,  in 
which  are  some  of  the  most  exquisite  of  his  plays, 
Cymbeline,  The  Tempest,  and  A  Winter's  Tale  (1608  to 
1610  or  1611),  conclude  the  list. 

Besides  his  plays  Shakespeare  wrote  two  narrative 
poems,  Ve.nus  and  Adonis  and  Lucrece,  printed  in  1594, 
both  very  popular  in  their  day.  In  1609  appeared 
Shakespeare's  Sonnets,  some  of  them  already  known  as 
early  as  1598.  Shakespeare's  plays  are,  many  of  them, 
interspersed  with  beautiful  songs  in  which  species  of 
lyrical  poetry  his  age  was  peculiarly  rich,  It  is  some- 
what strange  that  Shakespeare  introduced  no  new  kind 
of  poem  or  drama.  What  he  did  was  to  better  all  that 
had  been  done  before,-  and  though  he  had  great  rivals, 
it  was  he  who  by  his  example  made  the  Elizabethan 
drama  what  it  became. 


Biography  i  i 

Shakespeare's  life  in  London  must  have  been  a  busy 
one,  for  to  the  writing  of  plays  he  added  both  acting 
and  management.  His  work,  though  written  for  the 
popular  stage,  was  greatly  esteemed  at  court ;  and  there 
is  no  reason  to  doubt  that  he  frequently  acted  with  his 
company  before  Elizabeth  if  not  before  King  James. 
Of  Shakespeare's  daily  habits  we  know  very  little. 
Pleasant  stories  are  told  of  good  fellowship  with  Ben 
Jonson  and  others,  and  of  lofty  converse  at  the  Mer- 
maid Tavern,  the  Elizabethan  equivalent  of  Dryden's 
coffee-house  and  the  modern  club.  Nor  could  Shake- 
speare have  been  at  all  times  content  with  his  profes- 
sion. For  although  fortune  attended  the  most  successful 
of  Elizabethan  actors,  their  social  position,  especially 
in  earlier  times,  was  far  from  assured.  Shakespeare  is 
supposed  to  have  resided,  at  one  time,  on  the  Bankside 
in  Southwark,  on  the  Surrey  side  of  the  Thames. 

Shakespeare  retired  in  1611,  and  bought  New  Place, 
a  fine  house  and  grounds  at  Stratford,  his  old  home. 
He  did  not  long  survive,  but  died  April  23,  1616, 
leaving  no  son.  The  scanty  records  which  we  have, 
show  Shakespeare  to  have  been  a  thrifty  man,  investing 
his  money  with  care  and  protecting  his  interests,  if 
need  be,  by  the  law.  He  seems  to  have  been  much 
attached  to  his  family  and  his  home,  and  visited 
Stratford  often,  even  when  in  the  midst  of  his  busy 
London  career.  He  was  much  honoured  and  beloved 
by  his  fellow  playwrights,  Jonson  especially  prefixing 
to  the  Shakespeare  folio  of  1623  a  poem  containing 


12  Biography 

equal  praise  of  Shakespeare's  character  and  his  genius. 
Although  Shakespeare  was  far  too  large-minded  to  work 
up  petty  biographical  allusions  in  his  works,  his  plays 
betray  him  in  those  larger  lines  that  mark  his  great- 
ness. These  plays  proclaim  a  wide  and  deep  experi- 
ence, much  kindliness  and  charity  for  men's  follies 
and  weaknesses,  a  wealth  of  humour  and  imagination, 
and  the  highest  requisite  of  the  dramatist,  a  power  to 
feel  for  others  and  to  appreciate  thoughts  and  feelings 
altogether  foreign  to  his  own. 

The  portrait  of  Shakespeare  which  forms  the  frontis- 
piece of  this  volume  is  variously  known  as  the  Jansen 
portrait  from  its  alleged  authorship,  or  the  Somerset 
portrait  from  its  possession  by  the  Dukes  of  that  name. 
It  is  supposed  to  have  been  once  the  property  of  Prince 
Rupert  and  was  first  identified  in  1770.  The  portrait 
is  painted  on  an  oak  panel,  bears  date  1610,  and  is  said 
still  to  be  in  an  excellent  state  of  preservation.  Cor- 
nelius Jansen  was  a  Dutch  artist  who  painted  many 
portraits  in  London  between  1618  and  1648.  As  Jansen 
was  but  twenty  years  of  age  in  1610  and  is  not  other- 
wise traceable  in  England  earlier,  it  seems  unlikely  that 
this  picture  was  painted  from  life.  It  is  said,  however, 
to  bear  "  a  very  strong  resemblance  in  its  manner  and 
general  treatment  to  undoubted  works  of  Jansen,"  and 
may  well  have  been  a  copy  of  an  earlier  and  authentic 
portrait  dating  from  Shakespeare's  lifetime.  At  all 
events  it  is  by  far  the  most  artistic  of  the  several  old 
portraits  of  the  poet. 


INTRODUCTION 

The  Merchant  of  Venice  is  a  comedy ;  that  is,  a  play 
which  deals,  for  the  most  part,  with  the  lighter  and  kind- 
lier emotions,  and  concludes  happily.  Like  all  other 
dramas,  The  Merchant  of  Venice  represents  a  picture  of 
life  by  means  of  dialogue  and  action.  This  picture  may 
be  presented  on  the  stage  and  assisted  by  artful  declama- 
tion, gesture,  costuming,  and  music;  in  later  times  by 
cleverly  devised  scenery  and  effects  of  light  as  well.  In 
that  case  it  will  produce  a  vivid,  if  conventional,  image  of 
life.  Or  we  may  create  this  picture  of  life  independently 
of  such  helps  and  by  means  of  what  Shakespeare  calls 
"imagination's  inward  eye."  In  this  case  our  enjoyment 
will  depend  on  the  thoroughness  with  which  we  have 
grasped  Shakespeare's  meaning,  on  the  taste  which  we 
may  have  acquired  by  an  acquaintance  with  what  is  good 
in  literature,  on  our  general  knowledge  and  experience, 
and  on  the  qualities  of  mind  and  heart  which  make  each 
of  us  what  he  is.  Shakespeare's  plays  are  the  most  act- 
able of  all  plays ;  for  Shakespeare  was  an  actor  and  a 
manager  as  well  as  a  dramatist  and  a  poet.  Yet  many 
wise  men  have  found  a  greater  pleasure  in  reading  Shake- 
speare than  in  seeing  his  plays  on  the  stage ;  for  in  read- 
ing for  themselves  they  discovered  a  truer  image  of  his 

'3 


14  The  Merchant  of  Venice 

figures  and  of  the  events  in  which  they  move,  and  gained 
a  purer  pleasure  from  Shakespeare's  wit  and  wisdom  and 
from  the  glorious  poetry  in  which  he  clothes  his  finest 
thoughts.  It  is  a  quality  of  good  literature  to  become 
more  precious  the  better  it  is  known. 

The  Merchant  of  Venice  is  a  romantic  comedy ;  that  is, 
one  which  deals  with  strange  events  and  with  ideal  forms 
of  youth  and  beauty.  It  ties  itself  to  the  occurrences  of 
actual  life  only  so  far  as  to  leave  its  picture  true  to  human 
nature  and  experience  in  a  larger  sense.  The  contrasted 
form  is  realistic  comedy  which  treats  of  common  life  and 
everyday  incident.  Shakespeare  is  a  master  here  as  well 
as  in  romance,  as  may  be  seen  by  reference  to  his  Merry 
Wives  of  Windsor  and  to  the  comedy  scenes  of  his  plays 
on  King  Henry  IV.  But  The  Merchant  of  Venice  differs 
from  Shakespeare's  earlier  romantic  comedies,  from  Love's 
Labour's  Lost,  or  As  You  Like  It:  for  by  no  means  are 
all  the  emotions  involved  light  and  kindly  in  their  nature. 
Antonio's  gloom  and  contempt  for  the  downtrodden  Jew- 
ish race,  Shylock's  grim  and  sinister  humour,  his  bond  with 
its  murderous  forfeit,  and  the  warring  emotions  of  the  great 
trial  scene,  —  these  things  have  in  them  the  essence  of 
tragedy.  And  there  have  not  been  wanting  those  who 
have  questioned  whether  this  play  ought  not  to  have 
ended  in  Antonio's  death  at  the  hand  of  Shylock  and 
Shylock's  overthrow.  It  is  in  this  mixture  —  so  true  to 
life  —  this  mixture  of  light,  love,  and  mirth  with  those 
darker  passions  that  stain  human  nature,  scorn,  contempt, 
and  revenge,  that  The  Merchant  of  Venice  is  allied  to  the 


Introduction  15 

later  group  of  Shakespeare's  comedies,  to  Cymbeline, 
Winter's  Tale,  and  The  Tempest,  plays  often  called  the 
"  romances." 

The  Merchant  of  Venice  contains  two  stories,  that  of 
the  Pound  of  Flesh,  or  the  Bond  Story  as  it  is  often 
called,  and  the  story  of  the  Three  Caskets.  The  first, 
reduced  to  its  lowest  terms,  narrates  how  a  merchant 
signed  a  bond  for  money  loaned  in  which  it  was  agreed 
that,  in  default  of  payment  at  a  certain  time,  the  creditor 
was  to  cut  a  pound  of  flesh  from  what  part  of  his  debtor's 
body  he  might  choose ;  and  secondly  how,  the  bond  be- 
ing forfeit,  the  revengeful  creditor  was  foiled  by  the 
quibble  that  he  must  draw  no  blood  and  must  cut  only  an 
exact  pound.  The  second  story  tells  of  a  choice  of  two 
or  three  caskets  of  differing  exteriors  containing  respec- 
tively a  prize  of  gold,  and  some  mockery  of  earth  or  de- 
cayed bones,  the  chooser  in  no  case  apparently  being  a 
lover.  Both  stories  occur  in  many  versions  and  variations, 
and  in  many  different  tongues ;  and  the  Bond  Story,  at 
least,  has  been  traced  back  to  a  very  early  legend  of 
the  Mahabhdrata,  the  famous  epic  poem  of  India. 
As  to  Shakespeare,  he  might  have  found  the  sugges- 
tion for  the  Story  of  the  Caskets  in  the  Gesta  Romano- 
rum,  a  collection  of  stories  translated  into  English  as 
early  as  1510-1515.  The  Story  of  the  Bond  —  much 
as  Shakespeare  tells  it  —  is  found  in  the  Italian  novel 
of  Ser  Giovanni  Fiorentino,  entitled  //  Pecorone  and 
doubtless  already  known  in  England  before  the  date 
of  Shakespeare's  play,  although  no  translation  of  a 


1 6  The   Merchant  of  Venice 

sufficiently  early  date  survives  to  confirm  Shakespeare's 
use  of  it.  Lastly,  the  very  arguments  of  the  trial  scene 
with  the  rejoinders  to  those  arguments  appear  in 
Alexander  Sylvain's  Orator,  printed  in  1596.  This 
book  may,  however,  have  been  written  later  than 
Shakespeare's  play.  But  it  was  a  translation  from  the 
French. 

In  his  choice  of  material  for  his  plays,  Shakespeare 
generally  chose  that  which  was  nearest  to  his  hand, 
provided  it  was  fitted  to  his  purpose.  Shakespeare 
was  a  practical  playwright,  writing  plays  for  a  pro- 
fession, acting  them  and  superintending  their  pro- 
duction. Moreover  no  certain  line  was  drawn  in 
those  days  as  to  ownership  in  works  of  this  kind. 
Plays  were  the  property  of  the  companies  of  actors, 
and  as  such  were  subject  to  alteration,  adaptation, 
and  rewriting.  In  1579,  at  least  ten  years  before 
Shakespeare  came  up  to  London,  a  book  appeared 
entitled  The  Schoole  of  Abuse.  This  was  the  work  of 
Stephen  Gosson,  who  had  once  been  an  actor  and 
writer  of  plays  himself,  but  who  in  this  book  attacked 
the  wickedness  and  the  abuses  of  the  stage.  But 
Gosson  excepted  some  plays  from  his  rebuke,  among 
them,  to  use  his  words :  "  The  Jew  and  Ptolome, 
showne  at  the  Bull,  the  one  representing  the  greedi- 
nesse  of  worldly  chusers,  and  bloody  mindes  of 
Usurers:  The  other,"  —  but  we  are  not  concerned 
with  the  other.  In  this  play  thus  mentioned  by 
Gosson  we  have  a  Jew,  a  bloody-minded  usurer,  and 


Introduction  17 

likewise  certain  "  worldly  "  choosers  :  plainly  the  Story 
of  the  Bond  and  that  of  the  Caskets  already  united  and 
presented  on  the  stage  in  a  play.  No  scrap  of  this 
play  has  descended  to  us ;  but  it  is  in  accord  with 
Shakespeare's  practice  elsewhere  to  model  his  plays 
on  older  dramas,  for  earlier  plays  not  Shakespeare's 
on  the  subjects  of  Measure  for  Measure,  The  Taming 
of  the  Shrew,  and  King  Lear — to  mention  only  these  — 
exist  to  prove  it. '  We  may  therefore  accept  Gosson's 
Jew  as  the  probable  original  of  The  Merchant  of  Venice, 
acknowledging  the  possibility  of  Shakespeare's  ac- 
quaintance with  the  stories  as  elsewhere  told.  Though 
when  we  say  "  source  "  or  "  original "  in  any  matter 
connected  with  these  works  of  the  greatest  of  drama- 
tists, let  us  always  remember  that  it  was  the  inanimate 
material  that  Shakespeare  borrowed,  and  that  the 
poetry,  the  magic,  and  the  infinite  wisdom  of  these 
plays  are  Shakespeare's  own  and  Shakespeare's  alone. 
The  precise  date  of  the  first  acting  of  The  Merchant  of 
Venice  is  unknown.  The  play  is  mentioned  by  Francis 
Meres  among  other  plays  of  Shakespeare's  in  the  year 
1598,  in  what  Meres  calls  "a  comparative  discourse  of 
our  English  poets  with  the  Greeke,  Latine,  and  Italian 
poets,"  contained  in  his  Wits  Treasury.  But  some  have 
thought  that  a  play  called  "  Venesyon  comodey  "  (that  is, 
Venice's  or  the  Venetian's  Comedy),  first  acted  August 
25,  1594,  and  at  the  theatre  at  Newington  Butts,  was 
really  The  Merchant  of  Venice.  Shakespeare's  company 
was  acting  in  conjunction  with  another  troupe  of  actors 

MERCH.  OF   VENICE  —  2 


1 8  The  Merchant  of  Venice 

at  this  time  and  at  this  theatre ;  and  plays  were 
often  known  by  different  titles.  Beside.s,  the  old  stage 
account-book,  in  which  this  entry  concerning  "  Venesyon 
comodey  "  was  made,  was  the  property  of  an  illiterate 
old  stage  manager  named  Philip  Henslowe,  who  jotted 
down  any  title  that  would  remind  him  of  the  actual 
play  performed,  and  spelled  in  defiance  of  all  rules  to 
suit  himself.  We  may  adopt  any  tim.e  we  please  within 
the  years  from  1594  to  1598  as  the  date  of  the  writing 
of  this  comedy  of  Shakespeare's.  And  the  point  is 
really  unimportant,  so  long  as  we  know  —  and  this  we 
do  know  —  that  The  Merchant  of  Venice  was  written  in 
the  period  of  Shakespeare's  earlier  maturity,  in  the 
flush  of  that  wonderful  success  which  must  have  seemed 
almost  like  enchantment  to  the  poet  himself,  as  he 
looked  back  upon  the  raw  and  country-bred  lad  that 
he  was  when  he  sought  employment  about  the  Inns  in 
which  plays  were  given,  and  compared  with  that  recol- 
lection the  Shakespeare  of  1598,  a  successful  actor 
and  part  owner  in  the  fine,  new  Globe  Theatre,  the 
friend  and  companion  of  the  aristocratic  and  amiable 
Earl  of  Southampton,  and  the  darling  dramatist  of  his 
age. 

In  Shakespeare's  day  it  was  the  custom  for  the 
printers  of  London  to  register  their  intended  publica- 
tions in  what  was  known  as  the  Stationers'  (i.e.  Book 
sellers')  Register.  The  printer  thus  registering  was 
protected  in  his  right  to  his  book,  and  a  check  could 
be  kept  on  the  publication  of  books  politically  objec- 


Introduction  19 

tionable.  The  Merchant  of  Venice  was  thus  registered 
by  one  James  Roberts  in  July,  1598,  but  it  was  added 
on  the  register  "  Provided  that  yt  bee  not  prynted  by 
the  said  James  Robertes  or  anye  other  whatsoever 
without  lycence  first  had  from  the  Right  honorable 
the  lord  Chamberlen."  Now  in  1598  the  Lord  Cham- 
berlain was  the  patron  of  the  company  of  actors  of 
which  Shakespeare  was  a  member,  so  that  this  proviso 
means  that  the  permission  of  the  owners,  Shakespeare 
and  his  fellow-actors,  must  be  obtained  before  The 
Merchant  of  Venice  could  be  printed.  It  was  two  years 
before  Roberts  "  perfected  his  copy  "  a3  it  was  called, 
printing  the  play  under  this  title :  "  The  Excellent 
History  of  the  Merchant  of  Venice.  With  the  extreme 
cruelty  of  Shylocke  the  Jew  towards  the  saide  Merchant, 
in  cutting  a  just  pound  of  his  flesh.  And  the  obtaining 
of  Portia,  by  the  choyse  of  three  Caskets.  Written 
by  W.  Shakespeare."  In  the  same  year,  1600,  the  play 
was  again  registered  to  Thomas  Heyes,  "  by  consent  of 
Master  Roberts,"  and  printed  soon  after  in  an  inferior 
version  with  a  slightly  differing  title  and  the  addition 
of  the  words,  "As  it  hath  beene  divers  times  acted  by 
the  Lord  Chamberlaine  his  Servants."  These  two  edi- 
tions are  known  as  the  first  and  second  quartos  of  The 
Merchant  of  Venice  and  were  the  only  editions  of  his 
play  printed  in  Shakespeare's  lifetime. 

Of  the  hundreds  of  dramas  of  that  productive  age 
kss  than  half  were  ever  printed.  And  when  a  play  so 
appeared  it  was  proof  either  of  unusual  popularity,  of 


2O  The  Merchant  of  Venice 

its  having  served  its  purpose  on  the  stage,  or  of  some 
special  interest  in  the  subject-matter  aroused  by  a  con- 
temporary occurrence.  For  example,  a  fourth  quarto 
of  The  Merchant  of  Venice  was  printed  in  1652  just  at 
the  time  when  the  Jews  were  petitioning  Cromwell  for 
readmittance  to  England,  and  for  the  purpose  of  creat- 
ing a  feeling  against  them.  But  as  to  these  earlier  edi- 
tions we  may  feel  sure  that  it  was  the  popularity  of  the 
play  which  led  to  its  earliest  publication,  and  that  the 
delay  after  registration  was  due  to  the  success  with 
which  the  Chamberlain's  men  protected  their  property 
rights,  allowing  printing  at  last  only  when  the  comedy 
had  been  in  use  on  the  stage  for  some  five  or  six 
years.  In  1623,  when  John  Heminge  and  Henry  Con- 
dell,  Shakespeare's  fellow-actors  and  his  survivors  in 
the  ownership  of  his  plays,  collected  his  works  for  the 
folio  edition,  The  Merchant  of  Venice 'was  again  reprinted 
from  a  stage  copy,  as  appears  from  the  many  stage  direc- 
tions not  contained  in  the  quartos.  Modern  editors  con- 
sider all  these  editions,  but  conform  the  spelling  and 
punctuation  .to  the  modes  at  present  in  vogue.  Shake- 
speare's plays  were  very  carelessly  printed,  because  it 
was  against  his  interest  to  have  the  quartos  come  to 
press,  and  also  because  he  did  not  live  to  superintend 
the  collection  of  his  works,  as  did  some  of  his  contem- 
poraries. Moreover,  books  were  in  general  far  more 
carelessly  printed  in  those  days  than  in  these.  All  of 
these  matters,  though  interesting,  are  of  minor  impor- 
tance in  themselves  ;  and  our  enjoyment  of  Shakespeare 


Introduction  21 

is  fortunately  dependent  neither  on  dates,  sources,  nor 
texts,  much  less  on  printers'  errors  and  omissions. 

We  have  learned  what  was  the  subject  of  this  play, 
and  have  seen  how  it  came  to  be  written  and  approxi- 
mately when.  In  his  own  age  Shakespeare  was  only 
one,  though  incomparably  the  greatest,  of  a  large  num- 
ber of  men  who  made  their  livings  by  writing  for  the 
stage,  by  acting,  and  by  conducting  dramatic  perform- 
ances at  court  and  in  the  city.  London  then  contained 
not  many  more  than  one  hundred  thousand  inhabitants  ; 
and  yet  we  hear  of  no  less  than  five  companies  acting 
nearly  every  day,  and  producing,  on  an  average,  a  new 
play  every  two  weeks.  But  we  must  remember  that  in 
Queen  Elizabeth's  time  there  were  no  newspapers,  no 
magazines,  and  no  novels  such  as  we  have  ;  nor  did  the 
stress  and  hurry  of  life  cause  people  to  look  upon  the 
drama,  as  we  often  do,  as  a  mere  amusement  and  relaxa- 
tion. When  an  Elizabethan  had  anything  to  say  he 
was  apt  to  write  a  drama,  and  hence  the  stage  absorbed 
to  itself  much  of  the  best  and  the  strongest  thought  of 
the  age.  Nearly  all  classes,  too,  frequented  the  theatre 
in  Shakespeare's  younger  days ;  for  Puritanism  had  not 
yet  become  the  power  that  it  was  destined  to  become  in 
the  following  generations,  nor  had  it  as  yet  taken  so 
many  of  the  grave,  the  serious,  and  the  godly  from  pas- 
times, the  harmless  as  well  as  the  dangerous.  There- 
fore Shakespeare  appealed  to  wider  sympathies  and 
wholesomer  ideals  than  many  of  the  writers  who  came 
after  him  and  who  wrote  more  purely  for  the  fashion 


22  The  Merchant  of  Venice 


» 


able  and  frivolous  classes.  Many  men  wrote  plays  that 
endured  for  their  age  :  Marlowe,  Jonson,  Fletcher,  and 
others  besides.  Shakespeare  alone  seems  to  have  had 
the  power  to  please  and  delight  his  own  time  and  all 
other  times  as  well,  to  have  written  what  is  almost  as 
vivid  and  quite  as  true  to-day  as  it  was  when  he  wrote  it. 
The  Merchant  of  Venice  stands  among  the  very  best 
comedies  of  its  author  and  of  its  age,  for  its  engaging 
and  ever  adequate  expression,  for  its  beautiful  and 
musical  verse,  and  for  the  dramatic  skill  with  which 
the  two  main  stories  are  interwoven,  linked  by  Jessica's 
story  and  heightened  by  the  episode  of  the  rings.  But 
above  all  this,  is  the  matchless  power  with  which  Shake- 
speare has  drawn  his  characters,  each  in  its  %kind  and  J 
each  true  to  life  and  to  the  mingling  of  good  and  evil, 
of  strength  and  weakness  which  is  inherent  in  the  hu- 
man kind.  Shylock  is  not  all  bad,  shudder  as  we  must 
at  his  hardness  of  heart  and  unrelenting  pursuit  of  an 
ingenious  and  cruel  revenge.  Shylock's  ring  ("  I  had 
it  of  Leah  when  I  was  a  bachelor,"  he  tells  us)  remains 
in  the  memory  as  well  as  the  knife  sharpened  on  the  sole 
of  his  shoe  for  his  deed  of  blood.  Nor  is  the  upright 
and  generous  merchant,  Antonio,  faultless  ;  for  however 
meritorious  his  self-confessed  affronts  of  the  outcast  Jew 
may  have  seemed  to  the  groundlings  and  apprentices  of 
his  time,  it  was  not  in  the  great  poet's  universal  charity 
not  to  have  recognized  to  the  full  this  blemish  which  he 
put  on  the  Christian  merchant  thereby  to  enhance  as 
well  as  to  equalize  Antonio's  struggle  against  his  abused 


Introduction  23 

and  malicious,  his  pathetic  if  implacable  adversary. 
Bassanio  is  a  professed  fortune  hunter,  gambling  on  his 
chances ;  yet  so  swept  away  and  ennobled  by  his  love 
for  Portia  that  we  forget  all  this  in  our  delight  at  his 
success.  Did  charming,  clever  Jessica,  that  strangely 
undutiful  Jewess,  deserve  a  loving  husband  and  a  wel- 
come at  Belmont  ?  Perhaps  misfortune  and  her  deserts 
later  overtook  her ;  though  Fortune  leaves  many  a  grace- 
less ingrate  unchastised.  Did  Portia  break  the  spirit, 
if  not  the  letter,  of  her  father's  injunction  when  she 
permitted  all-conquering  Bassanio  to  win  her  heart  be- 
fore he  attempted  his  dangerous  choice  of  the  caskets? 
But  who  can  be  critical  of  sound-hearted,  adorable  Por- 
tia ?  or  think  of  her  other  than  she  is,  a  creature  of  the 
poet's  brain,  wealthily  endowed  with  a  reality  and  an 
immortality  beyond  the  fondest  longings  of  actual  men 
«ind  women. 

We  may  find  Shakespeare's  stories,  and  finding  them, 
#e  often  stand  amazed  at  the  honest  faithfulness  and 
respect  with  which  he  has  followed  some  third-rate 
chronicler.  We  may  analyse  his  plots  and  lay  bare 
their  mechanism  from  exposition  to  climax  and  from 
catastrophe  to  conclusion.  Furthermore  we  may  count 
his  syllables  and  measure  his  verse,  and  trace  out  each 
of  his  manifold  allusions,  following  painfully  where  he 
leaps,  sports,  and  bounds.  All  these  things  are  neces- 
sary, for  we  cannot  know  too  much  on  which  to  base  an 
intelligent  appreciation  of  his  art,  and  he  will  render  us 
in  return  in  proportion  as  we  bring  a  full  mind  rather 


24  The  Merchant  of  Venice 

than  an  empty  one  to  the  reading  of  his  plays.  But 
when  all  has  been  said,  it  is  Shakespeare's  picture  of 
life,  his  undeviating  faithfulness  to  the  realities  of  this 
world,  whether  actual  or  spiritual,  his  abounding  wisdom 
and  large  charity  and  the  sheer  poetry  that  gilds  what- 
ever it  touches  with  the  rays  of  a  golden  sunshine  that 
make  Shakespeare  the  first  poet  of  the  world. 


nmm 

DEPARTMENT  OF  DRAMATIC  ART 

THE    MERCHANT   OF  VENICE 


DRAMATIS   PERSONS 


THE  DUKE  OF  VENICE. 
THE  PRINCE  OF  MOROCCO,  )  suitors  to 
THE  PRINCE  OF  ARRAGON,  j     Portia. 
ANTONIO,  a  merchant  of  Venice. 
BASSANIO,  his  kinsman,  suitor  likewise 

to  Portia. 
SALANIO,     ") 

SALARINO,    (  friends  to  Antonio  and 
GRATIANO,  f      Bassanio. 
SALERIO,     J 

LORENZO,  in  love  with  Jessica. 
SHYLOCK,  a  rich  Jew. 
TUBAL,  a  Jew,  his  friend. 
LAUNCELOT  GOBBO,  the  clown,  servant 

to  Shylock. 


OLD  GOBBO,  father  to  Launcelot. 

LEONARDO,  servant  to  Bassanio. 

BALTHASAR,  / 

STEPHANO,    f  servants  to  Portia- 

PORTIA,  a  rich  heiress. 

NERISSA,  her  waiting-maid. 

JESSICA,  daughter  to  Shylock. 

Magnificoes  of  Venice,  Officers  of  the 
Court  of  Justice,  Jailor,  Servants  to 
Portia,  and  other  Attendants. 


SCENE:  Partly  at  Venice,  and  partly 
at  Belmont,  the  seat  of  Portia,  on 
the  Continent. 


ACT  I 

SCENE  I.    Venice.     A  street 
Enter  ANTONIO,  SALARINO,  and  SALANIO 

Antonio.     In  sooth,  I  know  not  why  I  am  so  sad : 
It  wearies  me  ;  you  say  it  wearies  you  ; 
But  how  I  caught  it,  found  it,  or  came  by  it, 
What  stuff  'tis  made  of,  whereof  it  is  born, 
I  am  to  learn ; 

And  such  a  want-wit  sadness  makes  of  me 
That  I  have  much  ado  to  know  myself 

i.   In  soothy  truly. 
•         25 


26  The  Merchant  of  Venice          [Act  I 

Salarino.  Your  mind  is  tossing  on  the  ocean ; 
There,  where  your  argosies  with  portly  sail, 
Like  signiors  and  rich  burghers  on  the  flood,  10 

Or,  as  it  were,  the  pageants  of  the  sea, 
Do  overpeer  the  petty  traffickers, 
That  curtsy  to  them,  do  them  reverence, 
As  they  fly  by  them  with  their  woven  wings. 

Salanio.     Believe  me,  sir,  had  I  such  venture  forth, 
The  better  part  of  my  affections  would 
Be  with  my  hopes  abroad.     I  should  be  still 
Plucking  the  grass,  to  know  where  sits  the  wind, 
Peering  in  maps  for  ports  and  piers  and  roads ; 
And  every  object  that  might  make  me  fear  20 

Misfortune  to  my  ventures  out  of  doubt 
Would  make  me  sad. 

Salarino.  My  wind  cooling  my  broth 

Would  blow  me  to  an  ague,  when  I  thought 
What  harm  a  wind  too  great  at  sea  might  do. 
I  should  not  see  the  sandy  hour-glass  run, " 
But  I  should  think  of  shallows  and  of  flats, 
And  see  my  wealthy  Andrew  dock'd  in  sand, 
Vailing  her  high-top  lower  than  her  ribs, 
To  kiss  her  burial.     Should  I  go  to  church 
And  see  the  holy  edifice  of  stone,  30 

And  not  bethink  me  straight  of  dangerous  rocks, 
Which  touching  but  my  gentle  vessel's  side, 
Would  scatter  all  her  spices  on  the  stream, 

17.   still)  ever,  always.     19.   roads,  anchorages.     28.    Vailing, 
lowering. 


Scene  I]        The  Merchant  of  Venice  27 

Enrobe  the  roaring  waters  with  my  silks, 

And,  in  a  word,  but  even  now  worth  this, 

And  now  worth  nothing?     Shall  I  have  the  thought 

To  think  on  this,  and  shall  I  lack  the  thought 

That  such  a  thing  bechanced  would  make   me 

sad? 

But  tell  not  me ;  I  know,  Antonio 
Is  sad  to  think  upon  his  merchandise.  40 

Antonio.     Believe  me,  no  :  I  thank  my  fortune  for  it, 
My  ventures  are  not  in  one  bottom  trusted, 
Nor  to  one  place ;  nor  is  my  whole  estate 
Upon  the  fortune  of  this  present  year : 
Therefore  my  merchandise  makes  me  not  sad. 

Salarino.     Why,  then  you  are  in  love. 

Antonio.  Fie,  fie  ! 

Salarino.     Not  in  love  neither?     Then  let  us  say  you 

are  sad, 

Because  you  are  not  merry  :  and  'twere  as  easy 
For  you  to  laugh  and  leap  and  say  you  are  merry, 
Because  you  are  not  sad.     Now,  by  two-headed 

Janus,  50 

Nature  hath  framed  strange  fellows  in  her  time  : 
Some  that  will  evermore  peep  through  their  eyes 
And  laugh  like  parrots  at  a  bag-piper, 
And  other  of  such  vinegar  aspect 
That  they'll  not  show  their  teeth  in  way  of  smile, 
Though  Nestor  swear  the  jest  be  laughable. 

38.   bechanced,  having  happened.       42.   bottom,  ship. 


28  The   Merchant  of  Venice  [Act  ) 

Enter  BASSANIO,  LORENZO,  and  GRATIANO 

Salanio.     Here  comes  Bassanio,  your  most  noble 

kinsman, 

Gratiano  and  Lorenzo.     Fare  ye  well : 
We  leave  you  now  with  better  company. 

Salarino.     I  would  have  stay'd  till  I  had  made  you 

merry,  60 

If  worthier  friends  had  not  prevented  me. 

Antonio.     Your  worth  is  very  dear  in  my  regard. 
I  take  it,  your  own  business  calls  on  you 
And  you  embrace  the  occasion  to  depart. 

Salarino.     Good  morrow,  my  good  lords. 

Bassanio.     Good  signiors  both,  when  shall  we  laugh  ? 

say,  when  ? 
You  grow  exceeding  strange  :  must  it  be  so  ? 

Salarino.     We'll   make   our   leisures  to  attend  on 
yours.  \Exeunt  Salarino  and  Salanio. 

Lorenzo.     My  Lord  Bassanio,  since  you  have  found 

Antonio, 

We  two  will  leave  you  :  but  at  dinner-time,  70 

I  pray  you,  have  in  mind  where  we  must  meet. 

Bassanio.     I  will  not  fail  you. 

Gratiano.  You  look  not  well,  Signior  Antonio ; 
You  have  too  much  respect  upon  the  world : 
They  lose  it  that  do  buy  it  with  much  care : 
Believe  me,  you  are  marvellously  changed. 

61.  prevented,  anticipated.     67.  strange,  infrequent  in  your  visits, 
74.  respect  upon,  consideration  for. 


Scene  I]        The   Merchant  of  Venice  29 

Antonio.    I  hold  the  world  but  as  the  world,  Gratiano  ; 
A  stage  where  every  man  must  play  a  part, 
And  mine  a  sad  one. 
Gratiano.  Let  me  play  the  fool : 

With  mirth  and  laughter  let  old  wrinkles  come,4  .80 

And  let  my  liver  rather  heat  with  wine 

Than  my  heart  cool  with  mortifying  groans. 

Why  should  a  man,  whose  blood  is  warm  within, 

Sit  like  his  grandsire  cut  in  alabaster  ? 

Sleep  when  he  wakes  and  creep  into  the  jaundice 

By  being  peevish  ?     I  tell  thee  what,  Antonio  — 

I  love  thee,  and  it  is  my  love  that  speaks  — 

There  are  a  sort  of  men  whose  visages 

Do  cream  and  mantle  like  a  standing  pond, 

And  do  a  wilful  stillness  entertain,  90 

With  purpose  to  be  dress 'd  in  an  opinion 

Of  wisdom,  gravity,  profound  conceit, 

As  who  should  say  'I  am,  sir,  an  oracle, 

And  when  I  ope  my  lips  let  no  dog  bark !  > 

O  my  Antonio,  I  do  know  of  these 

That  therefore  only  are  reputed  wise 

For  saying  nothing,  when,  I  am  very  sure, 

If  they  should  speak,  would  almost  damn  those 

ears 
Which,  hearing  them,  would  call  their  brothers 

fools. 

82.  mortifying,  causing  death.  89.  cream,  thicken  like  scum  on 
tne  surface.  89.  mantle,  cover  like  a  mantle.  90.  entertain,  main- 
tain. 91.  opinion,  reputation.  92.  conceit,  thought. 


30  The  Merchant  of  Venice          [Act  I 

I'll  tell  thee  more  of  this  another  time  :  100 

But  fish  not,  with  this  melancholy  bait, 
For  this  fool  gudgeon,  this  opinion. 
Come,  good  Lorenzo.     Fare  ye  well  awhile : 
.  I'll  end  my  exhortation  after  dinner. 

Lorenzo.     Well,  we  will  leave  you  then  till  dinner- 

time : 

I  must  be  one  of  these  same  dumb  wise  men, 
For  Gratiano  never  lets  me  speak. 

Gratiano.     Well,  keep  me  company  but  two  years  moe, 
Thou  shalt  not  know  the  sound  of  thine  own 
tongue. 

Antonio.     Farewell :  I'll  grow  a  talker  for  this  gear,   no 

Gratiano.     Thanks,  i'  faith,  for  silence  is  only  com- 
mendable 

In  a  neat's  tongue  dried .  .""..„; 

[Exeunt  Gratiano  and  Lorenzo. 

Antonio.     Is  that  any  thing  now  ? 

Bassanio.  Gratiano  speaks  an  infinite  deal  of  no- 
thing, more  than  any  man  in  all  Venice.  His 
reasons  are  as  two  grains  of  wheat  hid  in  two 
bushels  of  chaff :  you  shall  seek  all  day  ere  you 
find  them,  and  when  you  have  them,  they  are 
not  worth  the  search. 

Antonio.     Well,  tell  me  now  what  lady  is  the  same 

To  whom  you  swore  a  secret  pilgrimage,  123 

That  you  to-day  promised  to  tell  me  of  ? 

102.  gudgeon,  a  small  fish*  easily  caught.    102.  opinion,  reputation, 
112.   neafs  tongue,  sheep's  tongue. 


Scene  I]        The  Merchant  of  Venice  3 1 

Bassanio.     'Tis  not  unknown  to  you,  Antonio, 
How  much  I  have  disabled  mine  estate, 
By  something  showing  a  more  swelling  port 
Than  my  faint  means  would  grant  continuance : 
Nor  do  I  now  make  moan  to  be  abridged 
From  such  a  noble  rate ;  but  my  chief  care 
Is  to  come  fairly  off  from  the  great  debts 
Wherein  my  time  something  too  prodigal 
Hath  left  me  gaged.     To  you,  Antonio,  130 

I  owe  the  most,  in  money  and  in  love, 
And  from  your  love  I  have  a  warranty 
To  unburden  all  my  plots  and  purposes 
How  to  get  clear  of  all  the  debts  I  owe. 

Antonio.     I  pray  you,  good  Bassanio,  let  me  know  it ; 
And  if  it  stand,  as  you  yourself  still  do, 
Within  the  eye  of  honour,  be  assured, 
My  purse,  my  person,  my  extremest  means, 
Lie  all  unlock'd  to  your  occasions. 

Bassanio.     In  my  school-days,  when  I  had  lost  one 

shaft  140 

I  shot  his  fellow  of  the  self-same  flight 
The  self-same  way,  with  more  advised  watch 
To  find  the  other  forth,  and  by  adventuring  both 
I  oft  found  both :  I  urge  this  childhood  proof, 

123.  disabled,  embarrassed.  124.  something,  somewhat.  124. 
swelling  port,  ostentatious  bearing.  129.  time,  youth.  130.  gaged, 
pledged.  133.  plots,  plans.  136.  still,  always.  139.  occasions, 
needs.  140.  shaft,  arrow.  142.  advised,  deliberate.  143.  adven- 
turing, risking.  144.  childhood,  childish. 


32  The  Merchant  of  Venice  [Act  i 

Because  what  follows  is  pure  innocence. 

I  owe  you  much,  and,  like  a  wilful  youth, 

That  which  I  owe  is  lost ;  but  if  you  please 

To  shoot  another  arrow  that  self  way 

Which  you  did  shoot  the  first,  I  do  not  doubt, 

As  I  will  watch  the  aim,  or  to  find  both  i5c 

Or  bring  your  latter  hazard  back  again 

And  thankfully  rest  debtor  for  the  first. 

Antonio.     You  know  me  well,  and  herein  spend  but 

time 

To  wind  about  my  love  with  circumstance  ; 
And  out  of  doubt  you  do  me  now  more  wrong 
In  making  question  of  my  uttermost 
Than  if  you  had  made  waste  of  all  I  have : 
Then  do  but  say  to  me  what  I  should  do 
That  in  your  knowledge  may  by  me  be  done, 
And  I  am  prest  unto  it :  therefore  speak.  i6c 

Bassanio.     In  Belmont  is  a  lady  richly  left ; 
And  she  is  fair  and,  fairer  than  that  word, 
Of  wondrous  virtues  :  sometimes  from  her  eyes 
I  did  receive  fair  speechless  messages  : 
Her  name  is  Portia,  nothing  undervalued 
To  Cato's  daughter,  Brutus'  Portia : 
Nor  is  the  wide  world  ignorant  of  her  worth, 
For  the  four  winds  blow  in  from  every  coast 

148.  self,  self-same.  150.  <?r,  either.  154.  To  wind,  in  winding, 
154.  circumstance,  circumlocution.  156.  uttermost,  i.e.  love,  or 
help.  1 60.  prest,  ready.  163.  sometimes,  at  one  time,  formerly. 
165.  undervalued  to,  inferior  in  value  to. 


Scene  II]      The  Merchant  of  Venice  33 

Renowned  suitors,  and  her  sunny  locks 

Hang  on  her  temples  like  a  golden  fleece  4  170 

Which  makes  her  seat  of   Belmont  Colchos' 

strand, 
And  many  Jasons  come  in  quest  of  her. 

0  my  Antonio,  had  I  but  the  means 
To  hold  a  rival  place  with  one  of  them, 

1  have  a  mind  presages  me  such  thrift, 
That  I  should  questionless  be  fortunate ! 

Antonio.     Thou  know'st  that  all  my  fortunes  are  at 

sea  ; 

Neither  have  I  money  nor  commodity 
To  raise  a  present  sum  :  therefore  go  forth ; 
Try  what  my  credit  can  in  Venice  do :  180 

That  shall  be  rack'd,  even  to  the  uttermost, 
To  furnish  thee  to  Belmont,  to  fair  Portia. 
Go,  presently  inquire,  and  so  will  I, 
Where  money  is,  and  I  no  question  make 
To  have  it  of  my  trust  or  for  my  sake.     [Exeunt. 

SCENE   II.     Belmont.     A  room  in  Portia's  house. 
Enter  PORTIA  and  NERISSA 

Portia.     By  my  troth,  Nerissa,  my  little  body   is 

aweary  of  this  great  world. 
Nerissa.     You    would    be,  sweet    madam,  if  your 

175.  thrift,  success.  178.  commodity,  merchandise.  179*  pres- 
ent, immediate.  183.  presently,  at  once.  185.  of  my  trust,  in 
consequence  of.  2.  aweary,  weary. 

MERCH.  OF  VENICE  —  3 


34  The  Merchant  of  Venice 

miseries  were  in  the  same  abundance  as  your  good 
fortunes  are :  and  yet,  for  aught  I  see,  they  are 
as  sick  that  surfeit  with  too  much  as  they  that 
starve  with  nothing.  It  is  no  mean  happiness 
therefore,  to  be  seated  in  the  mean :  superfluity 
comes  sooner  by  white  hairs,  but  competency 
lives  longer.  10 

Portia.     Good  sentences  and  well  pronounced. 

Nerissa.    They  would  be  better,  if  well  followed. 

Portia.  If  to  do  were  as  easy  as  to  know  what 
were  good  to  do,  chapels  had  been  churches  and 
poor  men's  cottages  princes'  palaces.  It  is  a  good 
divine  that  follows  his  own  instructions :  I  can 
easier  teach  twenty  what  were  good  to  be  done, 
than  be  one  of  the  twenty  to  follow  mine  own 

I/  teaching.  The  brain  may  devise  laws  for  the 
blood,  but  a  hot  temper  leaps  o'er  a  cold  decree  :  20 
such  a  hare  is  madness  the  youth,  to  skip  o'er  the 
meshes  of  good  counsel  the  cripple.  But  this 
reasoning  is  not  in  the  fashion  to  choose  me  a  hus- 
band. O  me,  the  word  '  choose  ! '  I  may  neither 
choose  whom  I  would  nor  refuse  whom  I  dislike ; 
so  is  the  will  of  a  living  daughter  curbed  by  the 
will  of  a  dead  father.  Is  it  not  hard,  Nerissa, 
that  I  cannot  choose  one  nor  refuse  none  ? 

Nerissa.     Your  father  was  ever  virtuous ;  and  holy    30 
men   at   their    death   have    good    inspirations : 

9.   comes  .  .  .  by,  acquires.      1 1 .   sentences,  maxims.      1 7.   easier, 
more  easily.     23.  reasoning,  talk. 


Scene  ii]      The  Merchant  of  Venice  35 

therefore  the  lottery,  that  he  hath  devised  in 
these  three  chests  of  gold,  silver  and  lead, 
whereof  who  chooses  his  meaning  chooses  you. 
No  doubt  you  will  never  be  chosen  by  any  rightly 
but  one  who  shall  rightly  love.  But  what  warmth 
is  there  in  your  affection  towards  any  of  these 
princely  suitors  that  are  already  come? 

Portia.     I    pray    thee,    over-name    them ;    and    as 
thou  namest  them,  I  will  describe  them ;  and,     40 
according  to  my  description,  level  at  my  affec- 
tion. 

Nerissa.     First,  there  is  the  Neapolitan  prince. 

Portia.  Ay,  that's  a  colt  indeed,  for  he  doth 
nothing  but  talk  of  his  horse ;  and  he  makes  it 
a  great  appropriation  to  his  own  good  parts,  that 
he  can  shoe  him  himself.  .  S*+*  **.*i'^^  .  . 

Nerissa.     Then  there  is  the  County  Palatine. 

Portia.  He  doth  nothing  but  frown,  as  who  50 
should  say  '  If  you  will  not  have  me,  choose  : '  he 
hears  merry  tales  and  smiles  not :  I  fear  he  will 
prove  the  weeping  philosopher  when  he  grows 
old,  being  so  full  of  unmannerly  sadness  in  his 
youth.  I  had  rather  be  married  to  a  death's 
head  with  a  bone  in  his  mouth  than  to  either  of 
these.  God  defend  me  from  these  two  ! 

Nerissa.  How  say  you  by  the  French  lord,  Mon- 
sieur le  Bon? 

Portia.     God    made    him,   and    therefore    let    him    60 

41 .  level  at,  aim  at,  guess.    49.    County,  Count. 


36  The  Merchant  of  Venice  [Act  i 

pass  for  a  man.  In  truth,  I  know  it  is  a  sin  to  be 
a  mocker :  but,  he  !  why,  he  hath  a  horse  better 
than  the  Neapolitan's,  a  better  bad  habit  of 
frowning  than  the  Count  Palatine ;  he  is  every 
man  in  no  man ;  if  a  throstle  sing,  he  falls  straight 
a  capering :  he  will  fence  with  his  own  shadow : 
if  I  should  marry  him,  I  should  marry  twenty 
husbands.  If  he  would  despise  me,  I  would  for- 
give him,  for  if  he  love  me  to  madness,  I  shall 
never  requite  him.  70 

Nerissa.  What  say  you  then  to  Falconbridge, 
the  young  baron  of  England? 

Portia.  You  know  I  say  nothing  to  him,  for  he 
understands  not  me,  nor  I  him  :  he  hath  neither 
Latin,  French,  nor  Italian,  and  you  will  come 
into  the  court  and  swear  that  I  have  a  poor 
pennyworth  in  the  English.  He  is  a  proper  man's 
picture,  but,  alas,  who  can  converse  with  a  dumb- 
show?  How  oddly  he  is  suited  !  I  think  he 
bought  his  doublet  in  Italy,  his  round  hose  in  8c 
France,  his  bonnet  in  Germany,  and  his  beha- 
viour every  where. 

Nerissa.  What  think  you  of  the  Scottish  lord,  his 
neighbour? 

Portia.  That  he  hath  a  neighbourly  charity  in 
him,  for  he  borrowed  a  box  of  the  ear  of  the 
Englishman  and  swore  he  would  pay  him  again 

75.  will  come,  are  willing  to   come.       77.  proper,  handsome. 
79.  suited,  clothed. 


Scene  II]       The   Merchant  of  Venice  37 

when  he  was  able  :  I  think  the  Frenchman  be- 
came his  surety  and  sealed  under  for  another. 

Nerissa.     How   like   you   the   young   German,    the    90 
Duke  of  Saxony's  nephew? 

Portia.  Very  vilely  in  the  morning,  when  he  is 
sober,  and  most  vilely  in  the  afternoon,  when  he 
is  drunk :  when  he  is  best,  he  is  a  little  worse 
than  a  man,  and  when  he  is  worst,  he  is  little 
better  than  a  beast :  an  the  worst  fall  that  ever 
fell,  I  hope  I  shall  make  shift  to  go  without  him. 

Nerissa.     If  he  should  offer  to  choose,  and  choose 
the  right  casket,  you  should  refuse  to  perform  100 
your  father's  will,  if  you  should  refuse  to  accept 
him. 

Portia.  Therefore,  for  fear  of  the  worst,  I  pray 
thee,  set  a  deep  glass  of  Rhenish  wine  on  the 
contrary  casket,  for  if  the  devil  be  within  and 
that  temptation  without,  I  know  he  will  choose  it. 
I  will  do  any  thing,  Nerissa,  ere  I'll  be  married 
to  a  sponge. 

Nerissa.  You  need  not  fear,  lady,  the  having  any 
of  these  lords :  they  have  acquainted  me  with  no 
their  determinations ;  which  is  indeed  to  return 
to  their  home  and  to  trouble  you  with  no  more 
suit,  unless  you  may  be  won  by  some  other  sort 
than  your  father's  imposition  depending  on  the 
caskets. 

92.    vilely,  badly.         105.    contrary,  wrong.         114.   imposition, 
condition  imposed. 


3  8  The  Merchant  of  Venice          [Act  I 

Portia.  If  I  live  to  be  as  old  as  Sibylla,  I  will 
die  as  chaste  as  Diana,  unless  I  be  obtained  by 
the  manner  of  my  father's  will.  I  am  glad  this 
parcel  of  wooers  are  so  reasonable,  for  there  is 
not  one  among  them  but  I  dote  on  his  very  120 
absence,  and  I  pray  God  grant  them  a  fair  de- 
parture. 

Nerissa.  Do  you  not  remember,  lady,  in  your 
father's  time,  a  Venetian,  a  scholar  and  a  soldier, 
that  came  hither  in  company  of  the  Marquis  of 
Montferrat  ? 

Portia.  Yes,  yes,  it  was  Bassanio ;  as  I  think,  he 
was  so  called. 

Nerissa.     True,  madam :   he,  of  all  the  men  that 
ever  my  foolish  eyes  looked  upon,  was  the  best   130 
deserving  a  fair  lady. 

Portia.  I  remember  him  well,  and  I  remember 
him  worthy  of  thy  praise. 

Enter  a  Serving-man 

Serv.  The  four  strangers  seek  for  you,  madam, 
to  take  their  leave :  and  there  is  a  forerunner 
come  from  a  fifth,  the  Prince  of  Morocco,  who 
brings  word  the  prince  his  master  will  be  here 
to-night.  .  139 

Portia.  If  I  could  bid  the  fifth  welcome  with  so 
good  a  heart  as  I  can  bid  the  other  four  farewell, 

135.  forerunner*  footman. 


Scene  in]     The   Merchant  of  Venice  39 

I  should  be  glad  of  his  approach :  if  he  have  the 
condition  of  a  saint  and  the  complexion  of  a 
devil,  I  had  rather  he  should  shrive  me  than 
wive  me.  145 

Come,  Nerissa.     Sirrah,  go  before. 
Whiles   we   shut  the   gates   upon   one   wooer, 
another  knocks  at  the  door.  [Exeunt. 

SCENE  III.      Venice.     A  public  place 
Enter  BASSANIO  and  SHYLOCK 

Shylock.     Three  thousand  ducats  ;  well. 

Bassanio.   Ay,  sir,  for  three  months. 

Shylock.     For  three  months  ;  well. 

Bassanio.  For  the  which,  as  I  told  you,  Antonio 
shall  be  bound. 

Shylock.     Antonio  shall  become  bound  ;  well. 

Bassanio.  May  you  stead  me  ?  will  you  pleasure 
me  ?  shall  I  know  your  answer  ? 

Shylock.  Three  thousand  ducats,  for  three  months, 
and  Antonio  bound.  10 

Bassanio.     Your  answer  to  that. 

Shylock.     Antonio  is  a  good  man. 

Bassanio.  Have  you  heard  any  imputation  to  the- 
contrary  ? 

Shylock.  Oh,  no,  no,  no,  no:  my  meaning  in 
saying  he  is  a  good  man  is  to  have  you  under- 
stand me  that  he  is  sufficient.  Yet  his' means  are 

143.  condition,  quality.     147.    Whiles,  while. 


40  The  Merchant  of  Venice          [Act  I 

in  supposition  :  he  hath  an  argosy  bound  to  Trip- 
olis,  another  to  the  Indies  ;  I  understand,  more- 
over, upon  the  Rialto,  he  hath  a  third  at  Mexico,  20 
a  fourth  for  England,  and  other  ventures  he  hath, 
squandered  abroad.  But  ships  are  but  boards, 
sailors  but  men :  there  be  land-rats  and  water- 
rats,  water-thieves  and  land-thieves,  I  mean 
pirates,  and  then  there  is  the  peril  of  waters, 
winds  and  rocks.  The  man  is,  notwithstanding, 
sufficient.  Three  thousand  ducats ;  I  think  I 
may  take  his  bond. 

Bassanio.     Be  assured  you  may. 

Shylock.      I  will   be   assured  I  may;   and,  that  I     30 
may  be  assured,  I  will  bethink  me.    May  I  speak 
with  Antonio  ? 

Bassanio.     If  it  please  you  to  dine  with  us. 

Shylock.  Yes,  to  smell  pork;  to  eat  of  the  habi- 
tation which  your  prophet  the  Nazarite  conjured 
the  devil  into.  I  will  buy  with  you,  sell  with 
you,  talk  with  you,  walk  with  you,  and  so  follow- 
ing, but  I  will  not  eat  with  you,  drink  with  you, 
nor  pray  with  you.  What  news  on  the  Rialto  ? 
Who  is  he  comes  here  ?  to 

Enter  ANTONIO 

Bassanio.     This  is  Signior  Antonio. 
Shylock.     \Aside\  How  like  a  fawning  publican  he 
looks  1 

22.   squandered,  scattered. 


Scene  in]     The  Merchant  of  Venice  41 

I  hate  him  for  he  is  a  Christian, 

But  more  for  that  in  low  simplicity 

He  lends  out  money  gratis  and  brings  down 

The  rate  of  usance  here  with  us  in  Venice. 

If  I  can  catch  him  once  upon  the  hip, 

I  will  feed  fat  the  ancient  grudge  I  bear  him. 

He  hates  our  sacred  nation,  and  he  rails, 

Even  there  where  merchants  most  do  congregate,     50 

On  me,  my  bargains  and  my  well-won  thrift, 

Which  he  calls  interest.     Cursed  be  my  tribe, 

If  I  forgive  him  ! 

Bassanio.  Shylock,  do  you  hear  ? 

Shylock.     I  am  debating  of  my  present  store, 
And,  by  the  near  guess  of  my  memory, 
I  cannot  instantly  raise  up  the  gross 
Of  full  three  thousand  ducats.     What  of  that  ? 
Tubal,  a  wealthy  Hebrew  of  my  tribe, 
Will  furnish  me.     But  soft !  how  many  months 
Do  you  desire?     [To  Antonio\  Rest  you  fair, 

good  signior ;  60 

Your  worship  was  the  last  man  in  our  mouths. 

Antonio.     Shylock,  although  I  neither  lend  nor 

borrow 

By  taking  nor  by  giving  of  excess, 
Yet,  to  supply  the  ripe  wants  of  my  friend, 
I'll  break  a  custom.     Is  he  yet  possessed 
How  much  ye  would  ? 

43.  for,  because.       46.    usance,  interest.       54.   0f9  concerning. 
63.   excess,  interest.     65.  possessed,  informed. 


42  The  Merchant  of  Venice  [Act  I 

Shylock.  Ay,  ay,  three  thousand  ducats. 

Antonio.     And  for  three  months. 

Shylock.     I  had  forgot ;  three  months  ;  you  told  me 

so. 
Well  then,  your  bond ;  and  let  me  see  ;  but  hear 

you; 

Methought  you  said  you  neither  lend  nor  borrow 
Upon  advantage. 

Antonio.  I  do  never  use  it.  7/ 

Shylock.     When   Jacob   grazed  his  uncle  Laban's 

sheep  — 

This  Jacob  from  our  holy  Abram  was, 
As  his  wise  mother  wrought  in  his  behalf, 
The  third  possessor  ;  ay,  he  was  the  third  — 

Antonio.     And  what  of  him  ?  did  he  take  interest? 

Shylock.     No,  not  take  interest,  not,  as  you  would 

say, 

Directly  interest :  mark  what  Jacob  did 
When  Laban  and  himself  were  compromised 
That  all  the  eanlings  which  were  streak'd  and 
pied  80 

Should  fall  as  Jacob's  hire 

The  skilful  shepherd  peeled  me  certain  wands, 

And 

.  .  .  Stuck  them  up  before  the  fulsome  ewes, 

Who  .  .  .  did  in  eaning  time 

Fall  party-coloured  lambs,  and  these  were  Jacob's. 

74.   As,  for  so.         79.   compromised,   agreed.         80.   cantings^ 
lambs  just  born, 


Scene  ill]     The  Merchant  of  Venice  43 

This  was  a  way  to  thrive,  and  he  was  blest :  90 

And  thrift  is  blessing,  if  men  steal  it  not. 
Antonio.     This  was  a  venture,  sir,  that  Jacob  served 
for; 

A  thing  not  in  his  power  to  bring  to  pass, 

But  sway'd  and  fashion 'd  by  the  hand  of  heaven. 

Was  this  inserted  to  make  interest  good  ? 

Or  is  your  gold  and  silver  ewes  and  rams  ? 
Shylock.     I  cannot  tell ;  I  make  it  breed  as  fast : 

But  note  me,  signior. 
Antonio.  Mark  you  this,  Bassanio, 

The  devil  can  cite  Scripture  for  his  purpose. 

An  evil  soul  producing  holy  witness  100 

Is  like  a  villain  with  a  smiling  cheek, 

A  goodly  apple  rotten  at  the  heart : 

O,  what  a  goodly  outside  falsehood  hath ! 
Shylock.     Three  thousand  ducats  ;  'tis  a  good  round 
sum. 

Three  months  from  twelve ;  then,  let  me  see ; 

the  rate  — 
Antonio.     Well,  Shylock,  shall  we  be  beholding  to 

you? 
Shylock.     Signior  Antonio,  many  a  time  and  oft 

In  the  Rialto  you  have  rated  me 

About  my  moneys  and  my  usances : 

Still  have  I  borne  it  with  a  patient  shrug,  no 

106.  beholding,  beholden.  107.  many  a  time  and  oft,  many, 
many  times.  109.  usances,  practice  of  taking  interest,  no.  Still, 
always. 


44  The  Merchant  of  Venice  [Act  I 

For  sufferance  is  the  badge  of  all  our  tribe. 
You  call  me  misbeliever,  cut-throat  dog, 
And  spit  upon  my  Jewish  gaberdine, 
And  all  for  use  of  that  which  is  mine  own. 
Well  then,  it  now  appears  you  need  my  help : 
Go  to,  then ;  you  come  to  me,  and  you  say 
*  Shylock,  we  would  have  moneys : '  you  say  so ; 
You,  that  did  void  your  rheum  upon  my  beard 
And  foot  me  as  you  spurn  a  stranger  cur 
Over  your  threshold :  moneys  is  your  suit.  120 

What  should  I  say  to  you  ?     Should  I  not  say 
'  Hath  a  dog  money  ?  is  it  possible 
A  cur  can  lend  three  thousand  ducats  ? '     Or 
Shall  I  bend  low  and  in  a  bondman's  key, 
With  bated  breath  and  whispering  humbleness, 
Say  this ; 

1  Fair  sir,  you  spit  on  me  on  Wednesday  last ; 
You  spurn 'd  me  such  a  day ;  another  time 
You  call'd  me  dog ;  and  for  these  courtesies 
I'll  lend  you  thus  much  moneys  ?  '  130 

Antonio.     I  am  as  like  to  call  thee  so  again, 
To  spit  on  thee  again,  to  spurn  thee  too. 
If  thou  wilt  lend  this  money,  lend  it  not 
As  to  thy  friends  ;  for  when  did  friendship  take 
A  breed  of  barren  metal  of  his  friend  ? 
But  lend  it  rather  to  thine  enemy, 
Who,  if  he  break,  thou  mayst  with  better  face 

113.  gaberdine,  cloak.      118.   void  your  rheum,    expectorate, 
119.  foot,  kick.       131.  like,  likely. 


Scene  Hi]     The  Merchant  of  Venice  45 

Exact  the  penalty. 

Shylock.  Why,  look  you,  how  you  storm ! 

I  would  be  friends  with  you  and  have  your  love, 
Forget  the  shames  that  you  have  stain 'd  me  with,    140 
Supply  your  present  wants  and'  take  no  doit 
Of  usance  for  my  moneys,  and  you'll  not  hear 

me: 

• 

This  is  kind  I  offer. 

Bassanio.     This  were  kindness. 

Shylock.  This  kindness  will  I  show. 

Go  with  me  to  a  notary,  seal  me  there 
Your  single  bond  ;  and,  in  a  merry  sport, 
If  you  repay  me  not  on  such  a  day, 
In  such  a  place,  such  sum  or  sums  as  are 
Express 'd  in  the  condition,  let  the  forfeit 
Be  nominated  for  an  equal  pound  150 

Of  your  fair  flesh,  to  be  cut  off  and  taken 
In  what  part  of  your  body  pleaseth  me. 

Antonio.  Content,  i'  faith :  I'll  seal  to  such  a  bond 
And  say  there  is  much  kindness  in  the  Jew. 

Bassanio.     You  shall  not  seal  to  such  a  bond  for 

me: 
I'll  rather  dwell  in  my  necessity. 

Antonio.  Why,  fear  not,  man  ;  I  will  not  forfeit  it : 
Within  these  two  months,  that's  a  month  before 
This  bond  expires,  I  do  expect  return 

141.  doit,  trifle,  penny.  142.  usance,  interest.  149.  condi- 
tion, agreement.  150.  nominated,  specified.  150.  equal*  exact. 
156.  dwell,  remain. 


46  The  Merchant  of  Venice         [Act  n 

Of  thrice  three  times  the  value  of  this  bond.      160 

Shylock.     O  father  Abram,  what  these  Christians 

are, 

Whose  own  hard  dealings  teaches  them  suspect 
The  thoughts  of  others  1    Pray  you,  tell  me  this  ; 
If  he  should  break  his  day,  what  should  I  gain 
By  the  exaction  of  the  forfeiture  ? 
A  pound  of  man's  flesh  taken  from  a  man 
Is  not  so  estimable,  profitable  neither, 
As  flesh  of  muttons,  beefs,  or  goats.     I  say, 
To  buy  his  favour,  I  extend  this  friendship : 
If  he  will  take  it,  so  ;  if  not,  adieu ;  170 

And,  for  my  love,  I  pray  you  wrong  me  not. 

Antonio.     Yes,  Shylock,  I  will  seal  unto  this  bond. 

Shy  lock.     Then  meet  me  forthwith  at  the  notary's  ; 
Give  him  direction  for  this  merry  bond, 
And  I  will  go  and  purse  the  ducats  straight, 
See  to  my  house,  left  in  the  fearful  guard 
Of  an  unthrifty  knave,  and  presently 
I  will  be  with  you. 

Antonio.     Hie  thee,  gentle  Jew.          [Exit  Shylock. 
The  Hebrew  will  turn  Christian :  he  grows  kind.  i8< 

Bassanio.     I  like  not  fair  terms  and  a  villain's  mind. 

Antonio.     Come  on  :  in  this  there  can  be  no  dismay ; 
My  ships  come  home  a  month  before  the  day» 

[Exeunt. 

177.  presently ',  at  once,        181.  terms,  words. 


Scene  II       The  Merchant  of  Venice  47 

ACT   II 

SCENE  I.     Belmont.     A  room  in  Portia's  house 

Flourish  of  Cornets.     Enter  the  PRINCE  OF  MOROCCO 
and  his  train ;    PORTIA,  NERISSA,  and  others  attending 

Morocco.     Mislike  me  not  for  my  complexion, 
The  shadow'd  livery  of  the  burnish'd  sun, 
To  whom  I  am  a  neighbour  and  near  bred. 
Bring  me  the  fairest  creature  northward  born, 
Where  Phoebus'  fire  scarce  thaws  the  icicles, 
And  let  us  make  incision  for  your  love, 
To  prove  whose  blood  is  reddest,  his  or  mine. 
I  tell  thee,  lady,  this  aspect  of  mine 
Hath  fear'd  the  valiant :  by  my  love,  I  swear 
The  best-regarded  virgins  of  our  clime  10 

Have  loved  it  too  :  I  would  not  change  this  hue, 
Except  to  steal  your  thoughts,  my  gentle  queen. 

Portia.     In  terms  of  choice  I  am  not  solely  led 
By  nice  direction  of  a  maiden's  eyes  ; 
Besides,  the  lottery  of  my  destiny 
Bars  me  the  right  of  voluntary  choosing: 
But  if  my  father  had  not  scanted  me, 
And  hedged  me  by  his  wit,  to  yield  myself 
His  wife  who  wins  me  by  that  means  I  told  you, 
Yourself,  renowned  prince,  then  stood  as  fair        20 

I.  Mislike,  dislike.  9.  feared,  frightened.  12.  thoughts,  affec- 
tions. 14.  nice,  fanciful.  17.  scanted,  limited.  1 8.  wit,  inge- 
nuity. 


48  The  Merchant  of  Venice         [Act  n 

As  any  comer  I  have  look'd  on  yet 
For  my  affection. 

Morocco.  Even  for  that  I  thank  you  : 

Therefore,  I  pray  you,  lead  me  to  the  caskets 
To  try  my  fortune.     By  this  scimitar, 
That  slew  the  Sophy  and  a  Persian  prince 
That  won  three  fields  of  Sultan  Solyman, 
I  would  outstare  the  sternest  eyes  that  look, 
Outbrave  the  heart  most  daring  on  the  earth, 
Pluck  the  young  sucking  cubs  from  the  she-bear, 
Yea,  mock  the  lion  when  he  roars  for  prey,  30 

To  win  thee,  lady.     But,  alas  the  while  1 
If  Hercules  and  Lichas  play  at  dice 
Which  is  the  better  man,  the  greater  throw 
May  turn  by  fortune  from  the  weaker  hand : 
So  is  Alcides  beaten  by  his. page ; 
And  so  may  I,  blind  fortune  leading  me, 
Miss  that  which  one  unworthier  may  attain, 
And  die  with  grieving. 

Portia.  You  must  take  your  chance, 

And  either  not  attempt  to  choose  at  all 
Or  swear,  before  you  choose,  if  you  choose  wrong  40 
Never  to  speak  to  lady  afterward 
In  way  of  marriage  :  therefore  be  advised. 

Morocco.     Nor  will  not.     Come,  bring  me   unto   my 
chance. 

Portia.     First,  forward  to  the  temple :  after  dinner 
Your  hazard  shall  be  made. 

31.  alas  the  while t  alas.       42.  be  advised,  be  deliberate. 


Scene  II]      The   Merchant  of  Venice  49 

Morocco.  .  Good  fortune  then  I 

To  make  me  blest  or  cursed 'st  among  men. 

\Cornets,  and  exeunt. 

SCENE  II.      Venice.     A  street 
Enter  LAUNCELOT 

Launcelot.  Certainly  my  conscience  will  serve  me 
to  run  from  this  Jew  my  master.  The  fiend  is  at 
mine  elbow  and  tempts-  me,  saying  to  me 
*  Gobbo,  Launcelot  Gobbo,  good  Launcelot,'  or 
'  good  Gobbo/  or  '  good  Launcelot  Gobbo,  use 
your  legs,  take  the  start,  run  away.'  My  con- 
science says  '  No ;  take  heed,  honest  Launcelot ; 
take  heed,  honest  Gobbo, 'or,  as  aforesaid,  'honest 
Launcelot  Gobbo ;  do  not  run ;  scorn  running 
with  thy  heels.'  Well,  the  most  courageous  fiend  10 
bids  me  pack :  '  Via ! '  says  the  fiend ;  '  away ! ' 
says  the  fiend ;  '  for  the  heavens,  rouse  up  a  brave 
mind,'  says  the  fiend,  '  and  run.'  Well,  my  con- 
science, hanging  about  the  neck  of  my  heart, 
says  very  wisely  to  me  '  My  honest  friend  Laun- 
celot, being  an  honest  man's  son,'  or  rather  an 
honest  woman's  son  ;  for  indeed  my  father  did 
something  smack,  something  grow  to,  he  had  a 
kind  of  taste  ;  well,  my  conscience  says  *  Launce- 
lot, budge  not.'  *  Budge,'  says  the  fiend.  20 
1  Budge  not,'  says  my  conscience.  '  Conscience,' 
say  I,  '  you  counsel  well ; '  '  Fiend,'  say  I,  '  you 

MERCH.    OF  VENICE  —  4 


50  The   Merchant  of  Venice          [Act  n 

counsel  well :  '  to  be  ruled  by  my  conscience, 
I  should  stay  with  the  Jew  my  master,  who, 
God  bless  the  mark,  is  a  kind  of  devil ;  and,  to 
run  away  from  the  Jew,  I  should  be  ruled  by  the 
fiend,  who,  saving  your  reverence,  is  the  devil 
himself.  Certainly  the  Jew  is  the  very  devil 
incarnal ;  and,  in  my  conscience,  my  conscience 
is  but  a  kind  of  hard  conscience,  to  offer  to  coun-  30 
sel  me  to  stay  with  the  Jew.  The  fiend  gives 
the  more  friendly  counsel :  I  will  run,  fiend ;  my 
heels  are  at  your  command ;  I  will  run. 

Enter  Old  GOBBO,  with  a  basket 

Gobbo.  Master  young  man,  you,  I  pray  you, 
which  is  the  way  to  master  Jew's? 

Launcelot.  [Aside]  O  heavens,  this  is  my  true- 
begotten  father !  who,  being  more  than  sand- 
blind,  high-gravel-blind,  knows  me  not :  I  will 
try  confusions  with  him. 

Gobbo.     Master    young    gentleman,    I    pray    you,     40 
which  is  the  way  to  master  Jew's  ? 

Launcelot.  Turn  up  on  your  right  hand  at  the 
next  turning,  but,  at  the  next  turning  of  all,  on 
your  left ;  marry,  at  the  very  next  turning,  turn 
of  no  hand,  but  turn  down  indirectly  to  the  Jew's 
house. 

Gobbo.     By  God's   sonties,  'twill  be   a  hard  way 

29.  incarnal,  for  incarnate.     37.  sand-blind,  half-blind.     39.  con- 
fusions, for  conclusions.     47.  sonties,  saints. 


Scene  II]      The  Merchant  of  Venice  51 

to  hit.     Can  you  tell  me  whether  one  Launcelot, 
that  dwells  with  him,  dwell  with  him  or  no  ? 
Launcelot.     Talk  you  of  young  Master  Launcelot  ?     50 
[Aside]     Mark  me  now;   now  will  I  raise  the 
waters.  —  Talk  you  of  young  Master  Launcelot  ? 
Gobbo.     No   master,   sir,   but  a   poor   man's  son: 
his  father,  though  I  say  it,  is  an  honest  exceeding 
^          poor  man  and,  God  be  thanked,  well  to  live. 
|N  Launcelot.     Well,  let   his  father   be   what  a'   will, 

we  talk  of  young  Master  Launcelot. 
1    Gobbo.     Your  worship's  friend  and  Launcelot,  sir. 
Launcelot.     But  I  pray  you,  ergo,  old  man,  ergo,  I 

beseech  you,  talk  you  of  young  Master  Launcelot?     60 
k    Gobbo.     Of  Launcelot,  an't  please  your  mastership. 
\    Launcelot.     Ergo,  Master  Launcelot.     Talk  not  of 
Master  Launcelot,  father  ;  for  the  young  gentle- 
man, according  to  Fates  and  Destinies  and  such 
odd  sayings,  the  Sisters  Three  and  such  branches 
of  learning,  is  indeed  deceased,  or,  as  you  would 
say  in  plain  terms,  gone  to  heaven. 
Gobbo.     Marry,    God    forbid !    the    boy   was    the 

very  staff  of  my  age,  my  very  prop.  70 

Launcelot.     Do  I  look  like  a   cudgel   or   a  hovel- 
post,  a  staff  or  a  prop  ?   Do  you  know  me,  father  ? 
Gobbo.     Alack  the   day,  I  know  you   not,   young 
gentleman :  but,  I  pray  you,  tell  me,  is  my  boy, 
God  rest  his  soul,  alive  or  dead  ? 

59.   ergo,  Lat.  therefore,       6l.   an't,  if  it.       71.  hovel-post^  post 
supporting  a  shed. 


52  The   Merchant  of  Venice         [Act  II 

Launcelot.     Do  you  not  know  me,  father  ? 

Gobbo.  Alack,  sir,  I  am  sand-blind ;  I  know 
you  not. 

Launcelot.  Nay,  indeed,  if  you  had  your  eyes, 
you  might  fail  of  the  knowing  me  :  it  is  a  wise  80 
father  that  knows  his  own  child.  Well,  old  man, 
I  will  tell  you  news  of  your  son :  give  me  your 
blessing:  truth  will  come  to  light;  murder  cannot 
be  hid  long;  a  man's  son  may,  but  at  the 
length  truth  will  out. 

Gobbo.  Pray  you,  sir,  stand  up:  I  am  sure  you 
are  not  Launcelot,  my  boy. 

Launcelot.     Pray  you,  let's  have  no  more  fooling 
about  it,  but  give  me  your  blessing:  I  am  Launce- 
lot, your  boy  that  was,  your  son  that  is,  your    90 
child  that  shall  be. 

Gobbo.     I  cannot  think  you  are  my  son. 

Launcelot.  I  know  not  what  I  shall  think  of  that : 
but  I  am  Launcelot,  the  Jew's  man,  and  I  am 
sure  Margery  your  wife  is  my  mother. 

Gobbo.  Her  name  is  Margery,  indeed:  I'll  be 
sworn,  if  thou  be  Launcelot,  thou  art  mine  own 
flesh  and  blood.  Lord  worshipped  might  he  be  ! 
what  a  beard  hast  thou  got !  thou  hast  got  more 
hair  on  thy  chin  than  Dobbin  my  fill-horse  has  on 
his  tail.  TOI 

Launcelot.  It  should  seem  then  that  Dobbin's 
tail  grows  backward:  I  am  sure  he  had  more 

loo.  fill-horse >  shaft-horse. 


Scene  II]      The  Merchant  of  Venice  53 

hair  of  his  tail  than  I  have  of  my  face  when  I 
last  saw  him. 

Gobbo.  Lord,  how  art  thou  changed !  How 
dost  thou  and  thy  master  agree  ?  I  have  brought 
him  a  present.  How  'gree  you  now  ? 

Launcelot.  Well,  well:  but,  for  mine  own  part, 
as  I  have  set  up  my  rest  to  run  away,  so  I  will  no 
not  rest  till  I  have  run  some  ground.  My  master's  , 
a  very  Jew  :  give  him  a  present !  give  him  a 
halter :  I  am  famished  in  his  service  ;  you  may 
tell  every  finger  I  have  with  my  ribs.  Father,  I 
am  glad  you  are  come  :  give  me  your  present  to 
one  Master  Bassanio,  who  indeed  gives  rare 
new  liveries  :  if  I  serve  not  him,  I  will  run  as  far 
as  God  has  any  ground.  O  rare  fortune !  here 
comes  the  man  :  to  him,  father  ;  for  I  am  a  Jew, 
if  I  serve  the  Jew  any  longer.  120 

Enter  BASSANIO,  with  LEONARDO  and  other  followers 

Bassanio.  You  may  do  so ;  but  let  it  be  so  hasted 
that  supper  be  ready  at  the  farthest  by  five  of 
the  clock.  See  these  letters  delivered  ;  put  the 
liveries  to  making,  and  desire  Gratiano  to  come 
anon  to  my  lodging.  \Exit  a  Servant.  />> 

Launcelot.     To  him,  father. 

Gobbo.     God  bless  your  worship  !  V 

Bassanio.     Gramercy  !  wouldst  thou  aught  with  me  ? 

114.  tell,  count.       121.  hasted,  hastened.       125.   anon,  at  once. 
128.   Gramercy,  thank  you. 


54  The  Merchant  of  Venice          [Act  II 

Gobbo.     Here's  my  son,  sir,  a  poor  boy,  — 

Launcelot.     Not  a  poor  boy,  sir,  but  the  rich  Jew's  130 
man;  that  would,  sir,  as  my  father  shall  spe- 
cify— 

Gobbo.     He  hath  a  great   infection,   sir,   as   one 
would  say,  to  serve  — 

Launcelot.  Indeed,  the  short  and  the  long  is,  I 
serve  the  Jew,  and  have  a  desire,  as  my  father 
shall  specify,  — 

Gobbo.  His  master  and  he,  saving  your  worship's 
reverence,  are  scarce  cater-cousins  — 

Launcelot.     To  be  brief,  the  very  truth  is  that  the    140 
Jew,  having  done  me  wrong,  doth  cause  me,  as 
my  father,  being,  I  hope,  an  old  man,  shall  fru- 
tify  unto  you,  — 

Gobbo.  I  have  here  a  dish  of  doves  that  I  would 
bestow  upon  your  worship,  and  my  suit  is  — 

Launcelot.  In  very  brief,  the  suit  is  impertinent  to 
myself,  as  your  worship  shall  know  by  this  honest 
old  man  ;  and,  though  I  say  it,  though  old  man, 
yet  poor  man,  my  father. 

Bassanio.     One  speak  for  both.     What  would  you  ?  150 

Launcelot.     Serve  you,  sir. 

Gobbo.     That  is  the  very  defect  of  the  matter,  sir. 

Bass.     I  know  thee  well ;  thou  hast  obtain 'd  thy  suit : 
Shylock  thy  master  spoke  with  me  this  day, 
And  hath  preferred  thee,  if  it  be  preferment 

I33«   infection,  for  affection,  desire.       142.  frutify,  for  certify. 
146.  impertinent,  for  pertinent.     152.  defect,  for  effect.     155.  pre- 


Scene  II]       The  Merchant  of  Venice  55 

To  leave  a  rich  Jew's  service,  to  become 
The  follower  of  so  poor  a  gentleman. 

Launcelot.  The  old  proverb  is  very  well  parted 
between  my  master  Shylock  and  you,  sir :  you 
have  the  grace  of  God,  sir,  and  he  hath  enough.  160 

Bassanio.     Thou  speak'st  it  well.     Go,  father,  with 

thy  son. 

Take  leave  of  thy  old  master  and  inquire 
My  lodging  out.    \To  a  follower^     Give  him  a 

livery 
More  guarded  than  his  fellows' :  see  it  done. 

Launcelot.  Father,  in.  I  cannot  get  a  service,  no ; 
I  have  ne'er  a  tongue  in  my  head.  Well,  if  any 
man  in  Italy  have  a  fairer  table  which  doth  offer 
to  swear  upon  a  book,  I  shall  have  good  fortune. 
Go  to,  here's  a  simple  line  of  life  :  here's  a  small 
trifle  of  wives :  alas,  fifteen  wives  is  nothing !  170 
eleven  widows  and  nine  maids  is  a  simple  coming- 
in  for  one  man  :  and  then  to  'scape  drowning 
thrice,  and  to  be  in  peril  of  my  life  with  the  edge 
of  a  feather-bed ;  here  are  simple  'scapes.  Well, 
if  Fortune  be  a  woman,  she's  a  good  wench  for 
this  gear.  Father,  come  ;  I'll  take  my  leave  of 
the  Jew  in  the  twinkling  of  an  eye. 

\Exeunt  Launcelot  and  Old  Gobbo. 

Bassanio.     I  pray  thee,  good  Leonardo,  think  on 
this: 

ferr^d,  recommended  for  promotion.        162.   inquire  .  .  .  out,  seek 
by  asking.     164.  guarded,  trimmed  with  braid.     176.  gear,  matter. 


56  The  Merchant  of  Venice         [Act  n 

These  things  being  bought  and  orderly  bestow'd 
Return  in  haste,  for  I  do  feast  to-night  180 

My  best-esteem 'd  acquaintance  :  hie  thee,  go. 
Leonardo.     My  best  endeavours  shall  be  done  herein. 

Enter  GRATIANO 

Gratiano.     Where  is  your  master  ? 

Leonardo.  Yonder,  sir,  he  walks.     [Exit. 

Gratiano.     Signior  Bassanio  1 

Bassanio.     Gratiano  1 

Gratiano.     I  have  a  suit  to  you. 

Bassanio.  You  have  obtained  it. 

Gratiano.     You  must  not  deny  me :  I  must  go  with 
you  to  Belmont. 

Bassanio.     Why  then  you  must.      But  hear  thee, 

Gratiano ; 

Thou  art  too  wild,  too  rude  and  bold  of  voice ;     190 
Parts  that  become  thee  happily  enough 
And  in  such  eyes  as  ours  appear  not  faults ; 
But  where  thou  art  not  known,  why,  there  they 

show 

Something  too  liberal.     Pray  thee,  take  pain 
To  allay  with  some  cold  drops  of  modesty 
Thy    skipping    spirit,    lest    through    thy   wild 

behaviour 

I  be  misconster'd  in  the  place  I  go  to 
And  lose  my  hopes. 

179.  orderly,  in  an  orderly  manner.       194.    liberal  licentious. 
197.  misc<mster*dt  misconstrued. 


Scene  Hi]     The  Merchant  of  Venice  57 

Gratiano.  Signior  Bassanio,  hear  me  : 

If  I  do  not  put  on  a  sober  habit,  199 

Talk  with  respect  and  swear  but  now  and  then, 
Wear  prayer-books  in  my  pocket,  look  demurely, 
Nay  more,  while  grace  is  saying,  hood  mine  eyes 
Thus  with  my  hat,  and  sigh  and  say  '  amen/ 
Use  all  the  observance  of  civility, 
Like  one  well  studied  in  a  sad  ostent 
To  please  his  grandam,  never  trust  me  more. 

Bassanio.     Well,  we  shall  see  your  bearing. 

Gratiano.     Nay,  but  I  bar  to-night  :  you  shall  not 

gauge  me 
By  what  we  do  to-night. 

Bassanio.  No,  that  were  pity  : 

I  would  entreat  you  rather  to  put  on  210 

Your  boldest  suit  of  mirth,  for  we  have  friends 
That  purpose  merriment.     But  fare  you  well  : 
I  have  some  business. 

Gratiano.     And  I  must  to  Lorenzo  and  the  rest  : 

But  we  will  visit  you  at  supper-time.      [Exeunt. 

, 

SCENE  III.     The  same.     A  room  in  Shyloctfs  house 
Enter  JESSICA  and  LAUNCELOT 

Jessica.     I  am  sorry  thou  wilt  leave  my  father  so  : 
Our  house  is  hell,  and  thou,  a  merry  devil, 
Didst  rob  it  of  some  taste  of  tediousness. 

199.    habit,  demeanour   or    dress.       204.   civility,  refinement. 
205.   sad  ostent,  grave  bearing. 


58  The   Merchant  of  Venice         [Act  n 

But  fare  thee  well,  there  is  a  ducat  for  thee : 

And,  Launcelot,  soon  at  supper  shalt  thou  see 

Lorenzo,  who  is  thy  new  master's  guest : 

Give  him  this  letter ;  do  it  secretly ; 

And  so  farewell :  I  would  not  have  my  father 

See  me  in  talk  with  thee.  9 

Launcelot.  Adieu  !  tears  exhibit  my  tongue.  Most 
beautiful  pagan,  most  sweet  Jew,  .  .  .  adieu: 
these  foolish  drops  do  something  drown  my 
manly  spirit :  adieu. 

Jessica.     Farewell,  good  Launcelot. 

[Exit  Launcelot. 

Alack,  what  heinous  sin  is  it  in  me 
To  be  ashamed  to  be  my  father's  child ! 
But  though  I  am  a  daughter  to  his  blood, 
I  am  not  to  his  manners.     O  Lorenzo, 
If  thou  keep  promise,  I  shall  end  this  strife,          ^> 
Become  a  Christian  and  thy  loving  wife.     [Exit.  / 

SCENE  IV.     The  same.     A  street 

Enter  GRATIANO,  LORENZO,  SALARINO,  and 
SALANIO 

Lorenzo.     Nay,  we  will  slink  away  in  supper-time, 
Disguise  us  at  my  lodging  and  return, 
All  in  an  hour. 

Gratiano.     We  have  not  made  good  preparation. 
Salarino.     We   have   not   spoke  us   yet  of  torch- 
bearers. 

I.  in,  during. 


Scene  IV]      The  Merchant  of  Venice  59 

Salanio.     'Tis  vile,  unless  it  may  be  quaintly  order 'd, 
And  better  in  my  mind  not  undertook. 

Lorenzo.     'Tis  now  but  four  o'clock :  we  have  two 

hours 
To  furnish  us. 

Enter  LAUNCELOT,  with  a  letter 

Friend  Launcelot,  what's  the  news  ? 
Launcelot.     An  it  shall  please  you  to  break  up  this,     10 

it  shall  seem  to  signify. 
Lorenzo.     I  know  the  hand  :  in  faith,  'tis  a  fair  hand, 

And  whiter  than  the  paper  it  writ  on 

Is  the  fair  hand  that  writ. 

Gratiano.  Love-news,  in  faith. 

Launcelot.  By  your  leave,  sir. 
Lorenzo.  Whither  goest  thou  ? 
Launcelot.  Marry,  sir,  to  bid  my  old  master  the 

Jew  to  sup  to-night  with  my  new  master  the 

Christian. 
Lorenzo.     Hold  here,  take  this :  tell  gentle  Jessica      20 

I  will  not  fail  her ;  speak  it  privately. 

\_Exit  Launcelot. 

Go,  gentlemen, 

Will  you  prepare  you  for  this  mask  to-night? 

I  am  provided  of  a  torch-bearer. 
Salarino.     Ay,  marry,  I'll  be  gone  about  it  straight. 
Salanio.     And  so  will  I. 

6.  vile,  worthless.     6.  quaintly,  artfully,  ingeniously.     7.  under 
took,  undertaken.     10.  An,  if.     10.  break  upt  break  the  seal  of. 


60  The  Merchant  of  Venice         [Act  II 

Lorenzo.  Meet  me  and  Gratiano 

At  Gratiano's  lodging  some  hour  hence. 

Salarino.     'Tis  good  we  do  so. 

[Exeunt  Salarino  and  Salanio. 

Gratiano.     Was  not  that  letter  from  fair  Jessica  ? 

Lorenzo.     I  must  needs  tell  thee   all.      She  hath 

directed  30 

How  I  shall  take  her  from  her  father's  house, 
What  gold  and  jewels  she  is  furnish'd  with, 
What  page's  suit  she  hath  in  readiness. 
If  e'er  the  Jew  her  father  come  to  heaven, 
It  will  be  for  his  gentle  daughter's  sake :     , 
And  never  dare  Misfortune  cross  her  foot, 
Unless  she  do  it  under  this  excuse, 
That  she  is  issue  to  a  faithless  Jew. 
Come,  go  with  me  ;  peruse  this  as  thou  goest : 
Fair  Jessica  shall  be  my  torch-bearer.    [Exeunt. 

SCENE  V.      The  same.     Before  Shy  lock's  house 
Enter  SHYLOCK  and  LAUNCELOT 

Shy  lock.     Well,  thou  shalt  see,  thy  eyes  shall  be 

thy  judge, 

The  difference  of  old  Shylock  and  Bassanio :  — 
What,  Jessica  !  —  thou  shalt  not  gormandize, 
As  thou  hast  done  with  me  :  —  What,  Jessica  !  — 
And  sleep  and  snore,  and  rend  apparel  out :  — 
Why,  Jessica,  I  say  ! 

38.  faithless,  unbelieving.       5.   rend  .  .  .  out,  tear  out,  burst. 


Scene  V]       The  Merchant  of  Venice  61 

Launcelot.  Why,  Jessica! 

Shylock.     Who  bids  thee  call  ?     I  do  not  bid  thee 

.  call. 

Launcelot.     Your  worship  was  wont  to  tell  me  that  I 
could  do  nothing  without  bidding. 

Enter  JESSICA 

Jessica.      Call  you  ?  what  is  your  will  ?  10 

Shylock.     I  am  bid  forth  to  supper,  Jessica : 

There  are  my  keys.     But  wherefore  should  I  go  ? 
I  am  not  bid  for  love  ;  they  flatter  me : 
But  yet  I'll  go  in  hate,  to  feed  upon 
The  prodigal  Christian.     Jessica,  my  girl, 
Look  to  my  house.     I  am  right  loath  to  go : 
There  is  some  ill  a-brewing  towards  my  rest, 
For  I  did  dream  of  money-bags  to-night. 
Launcelot.     I  beseech  you,  sir,  go :  my  young  master 

doth  expect  your  reproach.  20 

Shylock.     So  do  I  his. 

Launcelot.     An   they   have    conspired    together,  I 
will  not  say  you  shall  see  a  mask ;   but  if  you 
do,  then  it  was  not  for  nothing  that  my  nose  fell 
a-bleeding  on  Black-Monday  last  at  six  o'clock 
i'  the    morning,  falling   out   that   year   on  Ash- 
Wednesday  was  four  year,  in  the  afternoon. 
Shylock.     What,  are  there  masks?      Hear  you  me, 
Jessica : 

II.  bid  for thy   invited  out.  20.   reproach,  for  approach. 

22.  An,  if. 


6i2  The  Merchant  of  Venice         [Act  n 

Lock  up  my  doors  ;  and  when  you  hear  the  drum 

And  the  vile  squealing  of  the  wry-neck'd  fife,         30 

Clamber  not  you  up  to  the  casements  then, 

Nor  thrust  your  head  into  the  public  street 

To  gaze  on  Christian  fools  with  varnish 'd  faces, 

But  stop  my  house's  ears,  I  mean  my  casements  : 

Let  not  the  sound  of  shallow  foppery  enter 

My  sober  house.     By  Jacob's  staff,  I  swear, 

I  have  no  mind  of  feasting  forth  to-night : 

But  I  will  go.     Go  you  before  me,  sirrah ; 

Say  I  will  come. 

Launcelot.     I  will  go  before,  sir.    Mistress,  look  out 
at  window,  for  all  this ;  41 

There  will  come  a  Christian  by, 
Will  be  worth  a  Jewess'  eye.  \Exit. 

Shylock.     What  says  that  fool  of  Hagar's  offspring, 
hey? 

Jes.     His  words  were  *  Farewell  mistress ; '  nothing 
else. 

Shylock.     The   patch   is  kind  enough,  but  a  huge 

feeder ; 

Snail-slow  in  profit,  and  he  sleeps  by  day 
More  than  the  wild-cat :  drones  hive  not  with  me : 
Therefore  I  part  with  him,  and  part  with  him 
To  one  that  I  would  have  him  help  to  waste  50 

His  borrow'd  purse.     Well,  Jessica,  go  in : 
Perhaps  I  will  return  immediately : 
Do  as  I  bid  you  ;  shut  doors  after  you : 

37.  forth,  from  home.      46.  patch,  fool. 


Scene  VI]     The   Merchant  of  Venice  63 

Fast  bind,  fast  find ; 

A  proverb  never  stale  in  thrifty  mind.       [Exit. 
Jessica.     Farewell ;  and  if  my  fortune  be  not  crost, 
I  have  a  father,  you  a  daughter,  lost.         [Exit. 

SCENE  VI.     The  same 
Enter  GRATIANO  and  SALARINO,  masked 

Gratiano.     This  is  the  pent-house  under  which  Lor- 
enzo 
Desired  us  to  make  stand. 

Salarino.  His  hour  is  almost  past.       M 

Gratiano.     And  it  is  marvel  he  out-dwells  his  hour, 
For  lovers  ever  run  before  the  clock. 

Salarino.     O,  ten  times  faster  Venus'  pigeons  fly 
To  seal  love's  bonds  new-made,  than  they  are 

wont 
To  keep  obliged  faith  unforfeited ! 

Gratiano.     That  ever  holds  :  who  riseth  from  a  feast 
With  that  keen  appetite  that  he  sits  down  ? 
Where  is  the  horse  that  doth  untread  again  10 

His  tedious  measures  with  the  unbated  fire 
That  he  did  pace  them  first  ?  All  things  that  are 
Are  with  more  spirit  chased  than  enjoy'd. 
How  like  a  younker  or  a  prodigal 
The  scarfed  bark  puts  from  her  native  bay, 

3.  out-dwells,  outstays.  7.  obliged  faith,  faith  bound  by  con- 

tract.    10.  untread,  retrace.     14.  younker,  stripling.     15.  scarfed 
bark,  ship  decked  with  flags. 


64.  The   Merchant  of  Venice          [Act  n 

Hugg'd  and  embraced  by  the  strumpet  wind  1 
How  like  the  prodigal  doth  she  return, 
With  over-weather'd  ribs  and  ragged  sails, 
Lean,  rent  and  beggar'd  by  the  strumpet  wind ! 
Salarino.     Here  comes  Lorenzo  :  more  of  this  here- 
after. 20 
Enter  LORENZO 

Lorenzo.     Sweet  friends,  your  patience  for  my  long 

abode ; 

Not  I,  but  my  affairs,  have  made  you  wait : 
When  you  shall  please  to  play  the  thieves  for 

wives, 

I'll  watch  as  long  for  you  then.     Approach  ; 
Here  dwells  my  father  Jew.   Ho  !  who's  within  ? 

Enter  JESSICA,  above,  in  boy^s  clothes 

Jessica.     Who  are  you  ?   Tell  me,  for  more  certainty. 

Albeit  I'll  swear  that  I  do  know  your  tongue. 
Lorenzo.     Lorenzo,  and  thy  love. 
Jessica.     Lorenzo,  certain,  and  my  love  indeed, 

For  who  love  I  so  much  ?   And  now  who  knows     30 

But  you,  Lorenzo,  whether  I  am  yours  ? 
Lorenzo.     Heaven   and   thy  thoughts   are   witness 

that  thou  art. 

Jessica.     Here,  catch  this  casket ;    it  is  worth  the 
pains. 

I  am  glad  'tis  night,  you  do  not  look  on  me, 

18.  over-weather*  dt  weather-beaten.      21.  abode,  tarrying,  stay. 


Scene  vi]      The   Merchant  of  Venice  65 

For  I  am  much  ashamed  of  my  exchange : 
But  love  is  blind  and  lovers  cannot  see 
The  pretty  follies  that  themselves  commit ; 
For  if  they  could,  Cupid  himself  would  blush 
To  see  me  thus  transformed  to  a  boy. 

Lorenzo.     Descend,  for  you  must  be  my  torch-bearer.     40 

Jessica.     What,  must  I  hold  a  candle  to  my  shames  ? 
They  in  themselves,  good  sooth,  are  too  too  light 
Why,  'tis  an  office  of  discovery,  love ; 
And  I  should  be  obscured. 

Lorenzo.  So  are  you,  sweet, 

Even  in  the  lovely  garnish  of  a  boy. 
But  come  at  once  ; 

For  the  close  night  doth  play  the  runaway, 
And  we  are  stay'd  for  at  Bassanio's  feast. 

Jessica.     I  will  make  fast  the  doors,  and  gild  myself 
With  some  more  ducats,  and  be  with  you  straight.     50 

[Exit  above.    ,. 

Gratiano.     Now,  by  my  hood,  a  Gentile  and  no 
Jew. 

Lorenzo.     Beshrew  me  but  I  love  her  heartily ; 
For  she  is  wise,  if  I  can  judge  of  her, 
And  fair  she  is,  if  that  mine  eyes  be  true, 
And  true  she  is,  as  she  hath  proved  herself, 
And  therefore,  like  herself,  wise,  fair  and  true, 
Shall  she  be  placed  in  my  constant  soul. 

42.  good  sooth,  in  good  truth.  44.  obscured,  disguised. 
45.  garnish,  costume.  47.  close,  secret.  48.  stafd,  awaited. 
52.  Beshrew  me,  dear  me,  verily. 

MERCH.   OF  VENICE  — 5 


66  The  Merchant  of  Venice         [Act  n 

Enter  JESSICA,  below 

What,  art  thou  come  ?     On,  gentlemen  ;  away  I 
Our  masking  mates  by  this  time  for  us  stay. 

\Exit  with  Jessica  and  Salarino. 

Enter  ANTONIO 

Antonio.    Who's  there  ?  60 

Gratiano.     Signior  Antonio  I 

Antonio.     Fie,  fie,  Gratiano  !  where  are  all  the  rest? 

Tis  nine  o'clock :  our  friends  all  stay  for  you. 

No  mask  to-night :  the  wind  is  come  about ; 

Bassanio  presently  will  go  aboard : 

I  have  sent  twenty  out  to  seek  for  you. 
Gratiano.     I  am  glad  on't :  I  desire  no  more  delight 

Than  to  be  under  sail  and  gone  to-night.    [Exeunt. 

SCENE  VII.     Belmont.    A  room  in  Portia's  house 

Flourish  of  cornets.     Enter  PORTIA,  with  the  PRINCE  OP 
MOROCCO,  and  their  trains 

Portia.     Go  draw  aside  the  curtains  and  discover 
The  several  caskets  to  this  noble  prince. 
Now  make  your  choice. 
Morocco.     The  first,  of  gold,  who  this  inscription 

bears, 

'  Who  chooseth  me  shall  gain  what  many  men 
desire ; ' 

67.  on't,  of  it.     I.  discover,  disclose.    4.  who,  which. 


Scene  vii]    The  Merchant  of  Venice  67 

The  second,  silver,  which  this  promise  carries, 
1  Who   chooseth   me  shall   get  as  much  as  he 

deserves ; ' 
This  third,  dull  lead,  with  warning  all  as  blunt, 

*  Who  chooseth  me  must  give  and  hazard  all  he  . 

hath.' 

How  shall  I  know  if  I  do  choose  the  right  ?  10 

Portia.     The  one   of  them   contains   my  picture, 

prince : 

If  you  choose  that,  then  I  am  yours  withal. 
Morocco.    Some  god  direct  my  judgement !    Let  me 

see; 

I  will  survey  the  inscriptions  back  again. 
What  says  this  leaden  casket  ? 

*  Who  chooseth  me  must  give  and  hazard  all  he 

hath/ 

Must  give  I  for  what  ?  for  lead  ?  hazard  for  lead  ? 

This  casket  threatens.     Men  that  hazard  all 

Do  it  in  hope  of  fair  advantages : 

A  golden  mind  stoops  not  to  shows  of  dross ;         20 

I'll  then  nor  give  nor  hazard  aught  for  lead. 

What  says  the  silver  with  her  virgin  hue  ? 

'  Who  chooseth  me  shall  get  as  much  as  he  de- 
serves.' 

As  much  as  he  deserves  !    Pause  there,  Morocco, 

And  weigh  thy  value  with  an  even  hand : 

If  thou  be'st  rated  by  thy  estimation, 

8.   blunt,  dull.       14.   back  again,  in  inverse  order.      20.  shows, 
appearances. 


68  The  Merchant  of  Venice         [Act  II 

Thou  dost  deserve  enough  ;  and  yet  enough 

May  not  extend  so  far  as  to  the  lady : 

And  yet  to  be  afeard  of  my  deserving 

Were  but  a  weak  disabling  of  myself.  30 

As  much  as  I  deserve  !     Why,  that's  the  lady : 

I  do  in  birth  deserve  her,  and  in  fortunes, 

In  graces  and  in  qualities  of  breeding ; 

But  more  than  these,  in  love  I  do  deserve. 

What  if  I  stray'd  no  further,  but  chose  here  ? 

Let's  see  once  more  this  saying  graved  in  gold  ; 

*  Who  chooseth  me  shall  gain  what  many  men 
desire.' 

Why,  that's  the  lady;  all  the  world  desires 
her ; 

From  the  four  corners  of  the  earth  they  come, 

To  kiss  this  shrine,  this  mortal-breathing  saint :     40 

The  Hyrcanian  deserts  and  the  vasty  wilds 

Of  wide  Arabia  are  as  throughfares  now 

For  princes  to  come  view  fair  Portia ; 

The  watery  kingdom,  whose  ambitious  head 

Spits  in  the  face  of  heaven,  is  no  bar 

To  stop  the  foreign  spirits,  but  they  come, 

As  o'er  a  brook,  to  see  fair  Portia. 

One  of  these  three  contains  her  heavenly  picture. 

Is't  like  that  lead  contains  he'r  ?  'Twere  damna- 
tion 

To  think  so  base  a  thought :  it  were  too  gross       50 

30.  disabling,  depreciation.     40.  mortal-breathing,  endowed  with 
human  life.     41.  vasty,  desolate.      42.  throughfares,  thoroughfares. 


t 


Scene  vii]    The  Merchant  of  Venice  69 

To  rib  her  cerecloth  in  the  6bscure  grave. 
Or  shall  I  think  in  silver  she's  immured, 
Being  ten  times  undervalued  to  tried  gold  ? 
O  sinful  thought !     Never  so  rich  a  gem 
Was   set   in  worse   than  gold.     They  have  in 

England 

A  coin  that  bears  the  figure  of  an  angel 
Stamped  in  gold,  but  that's  insculp'd  upon; 
But  here  an  angel  in  a  golden  bed 
Lies  all  within.     Deliver  me  the  key: 
Here  do  I  choose,  and  thrive  I  as  I  may !  60 

Por.     There,  take  it,  prince ;  and  if  my  form  lie  there, ^ 

Then  I  am  yours.    \He  unlocks  the  golden  casket. 
Morocco.  O  hell  1  what  have  we  here  ? 

A  carrion  Death,  within  whose  empty  eye 
There  is  a  written  scroll !    I'll  read  the  writing. 
[Reads]  All  that  glisters  is  not  gold ; 

Often  have  you  heard  that  told : 

Many  a  man  his  life  hath  sold 

But  my  outside  to  behold : 

Gilded  tombs  do  worms  enfold. 

Had  you  been  as  wise  as  bold,  70 

Young  in  limbs,  in  judgement  old, 

Your  answer  had  not  been  enscrolPd  : 

Fare  you  well ;  your  suit  is  cold. 

51.  rib,  cover,  wrap.  51.  cerecloth,  waxed  cloth  used  in  burial. 
53.  undervalued,  inferior  in  value  to.  57.  insculp'd,  engraven. 
63.  Death,  Death's  head.  65.  glisters,  glitters.  72.  enscroWd 
written  on  a  scroll. 


yo  The  Merchant  of  Venice         [Act  n 

Cold,  indeed';  and  labour  lost : 
Then,  farewell,  heat,  and  welcome,  frost  1 
Portia,  adieu.     I  have  too  grieved  a  heart 
To  take  a  tedious  leave  :   thus  losers  part. 

[Exit  with  his  train.     Flourish  of  Cornets. 
Portia.     A  gentle  riddance.    Draw  the  curtains,  go. 
Let  all  of  his  complexion  choose  me  so.  79 

[Exeunt. 

SCENE  VIII.      Venice.    A  street 

Enter  SALARINO  and  SALANIO 
i 

Salarino.     Why,  man,  I  saw  Bassanio  under  sail : 

With  him  is  Gratiano  gone  along ; 

And  in  their  ship  I  am  sure  Lorenzo  is  not. 
Salanio.     The  villain  Jew  with  outcries  raised  the 
duke, 

Who  went  with  him  to  search  Bassanio's  ship. 
Salarino.     He  came  too  late,  the  ship  was  under 
sail: 

But  there  the  duke  was  given  to  understand 

That  in  a  gondola  were  seen  together 

Lorenzo  and  his  amorous  Jessica : 

Besides,  Antonio  certified  the  duke  10 

They  were  not  with  Bassanio  in  his  ship. 
Salanio.     I  never  heard  a  passion  so  confused, 

So  strange,  outrageous,  and  so  variable, 

77.  party  depart.       4.   raised,   roused.       10.   Certified,  assured. 
12.  passion,  passionate  outcry. 


Scene  viii]  The  Merchant  of  Venice  71 

As  the  dog  Jew  did  utter  in  the  streets : 

1  My  daughter  !  O  my  ducats  !  O  my  daughter  1 

Fled  with  a  Christian !  O  my  Christian  ducats ! 

Justice  !  the  law !  my  ducats,  and  my  daughter ! 

A  sealed  bag,  two  sealed  bags  of  ducats, 

Of    double    ducats,   stolen    from    me    by  my 

daughter ! 
And  jewels,  two  stones,  two  rich  and  precious 

stones,  20 

Stolen  by  my  daughter !  Justice  !  find  the  girl ; 
She  hath  the  stones  upon  her,  and  the  ducats.' 

Salarino.     Why,  all  the  boys  in  Venice  follow  him, 
Crying,  his  stones,  his  daughter,  and  his  ducats. 

Salanio.     Let  good  Antonio  look  he  keep  his  day, 
Or  he  shall  pay  for  this. 

Salarino.  Marry,  well  remember'd. 

I  reason'd  with  a  Frenchman  yesterday, 
Who  told  me,  in  the  narrow  seas  that  part 
The  French  and  English,  there  miscarried 
A  vessel  of  our  country  richly  fraught :  30 

I  thought  upon  Antonio  when  he  told  me, 
And  wish'd  in  silence  that  it  were  not  his. 

Salanio.     You  were  best  to  tell  Antonio  what  you 

hear; 
Yet  do  not  suddenly,  for  it  may  grieve  him. 

Salarino.     A  kinder  gentleman  treads  not  the  earth. 
I  saw  Bassanio  and  Antonio  part : 
Bassanio  told  him  he  would  make  some  speed 

27.   reasoned,  talked.      30.  fraught,  freighted. 


72  The  Merchant  of  Venice         [Act  11 

Of  his  return  :  he  answer'd,  '  Do  not  so ; 

Slubber  not  business  for  my  sake,  Bassanio, 

But  stay  the  very  riping  of  the  time  ;  40 

And  for  the  Jew's  bond  which  he  hath  of  me, 

Let  it  not  enter  in  your  mind  of  love : 

Be  merry,  and  employ  your  chiefest  thoughts 

To  courtship  and  such  fair  ostents  of  love 

As  shall  conveniently  become  you  there  : ' 

And  even  there,  his  eye  being  big  with  tears, 

Turning  his  face,  he  put  his  hand  behind  him, 

And  with  affection  wondrous  sensible 

He  wrung  Bassanio's  hand  ;  and  so  they  parted. 

Salanio.     I  think  he  only  loves  the  world  for  him.        50 
I  pray  thee,  let  us  go  and  find  him  out 
And  quicken  his  embraced  heaviness 
With  some  delight  or  other. 

Salarino.  Do  we  .so.      \Exe 

SCENE  IX.     Belmont.     A  room  in  Portia1  s  house 
Enter  NERISSA  with  a  Servitor 

Nerissa.     Quick,    quick,    I    pray  thee ;    draw  the 

curtain  straight : 

The  Prince  of  Arragon  hath  ta'en  his  oath, 
And  comes  to  his  election  presently. 

39.  Slubber,  slur  over.  40.  riping,  ripening.  42.  mind  of  love, 
mind  occupied  with  love.  44.  ostents,  shows.  45.  conveniently, 
suitably.  48.  affection  ivondrotis  sensible,  wonderfully  sensitive 
emotion.  I.  straight,  directly.  2.  to*  en,  taken.  3.  election, 
choice.  3.  presently,  at  once. 


Scene  IX]     The  Merchant  of  Venice  73 

Flourish  of  Cornets.     Enter  the  PRINCE  OF  ARRAGON, 
PORTIA,  and  their  trains 

Portia.     Behold,   there    stand    the   caskets,   noble 
prince : 

If  you  choose  that  wherein  I  am  con  tain 'd, 

Straight  shall  our  nuptial  rites  be  solemnized : 

But  if  you  fail,  without  more  speech,  my  lord, 

You  must  be  gone  from  hence  immediately. 
Arragon.     I  am  en  join 'd  by  oath  to  observe  three 
things : 

First,  never  to  unfold  to  any  one  10 

Which  casket  'twas  I  chose  ;  next,  if  I  fail 

Of  the  right  casket,  never  in  my  life 

To  woo  a  maid  in  way  of  marriage : 

Lastly, 

If  I  do  fail  in  fortune  of  my  choice, 

Immediately  to  leave  you  and  be  gone. 
Portia.     To  these  injunctions  every  one  doth  swear 

That  comes  to  hazard  for  my  worthless  self. 
Arragon.     And  so  have  I  addressed  me.     Fortune 
now 

To  my  heart's  hope  !     Gold ;  silver ;  and  base 
lead.  20 

'  Who  chooseth  me  must  give  and  hazard  all  he 
hath.' 

You  shall  look  fairer,  ere  I  give  or  hazard. 

What  says  the  golden  chest  ?  ha !  let  me  see : 

19.  addressed  me,  prepared  myself. 


74  The  Merchant  of  Venice         [Act  n 

'  Who  chooseth  me  shall  gain  what  many  men 

desire.* 
What  many  men  desire  1  that  *  many '  may  be 

meant 

By  the  fool  multitude,  that  choose  by  show, 
Not  learning  more  than  the  fond  eye  doth  teach ; 
Which  pries  not  to  the  interior,  but,  like  the 

martlet, 

Builds  in  the  weather  on  the  outward  wall, 
Even  in  the  force  and  road  of  casualty.  30 

I  will  not  choose  what  many  men  desire, 
Because  I  will  not  jump  with  common  spirits 
And  rank  me  with  the  barbarous  multitudes. 
Why,  then  to  thee,  thou  silver  treasure-house  ; 
Tell  me  once  more  what  title  thou  dost  bear : 
'  Who  chooseth  me  shall  get  as  much  as  he  de- 
serves : ' 

And  well  said  too ;  for  who  shall  go  about 
To  cozen  fortune  and  be  honourable 
Without  the  stamp  of  merit  ?     Let  none  presume 
To  wear  an  undeserved  dignity.  40 

O,  that  estates,  degrees  and  offices 
Were    not    derived    corruptly,  and   that  clear 

honour 

Were  purchased  by  the  merit  of  the  wearer ! 
How  many  then  should  cover  that  stand  bare  1 

27.  fond,  foolish.  28.  martlet,  swallow.  30.  force,  power. 
32.  jump,  agree  with.  38.  cozen,  cheat.  43.  purchased,  ac- 
quired, won.  44.  cover,  wear  their  hats  as  masters. 


Scene  IX]      The  Merchant  of  Venice  75 

How  many  be  commanded  that  command  ! 
How  much  low  peasantry  would  then  be  glean'd 
From  the  true  seed  of  honour  !   and  how  much 

honour 

Pick'd  from  the  chaff  and  ruin  of  the  times 
To  be  new-varnish'd  !     Well,  but  to  my  choice : 
'  Who  chooseth  me  shall  get  as  much  as  he  de- 
serves.' 50 
I  will  assume  desert.     Give  me  a  key  for  this, 
And  instantly  unlock  my  fortunes  here.  / 

[He  opens  the  silver  casket,  f 
Portia.     \Aside~\     Too  long  a  pause  for  that  which 

you  find  there. 
Arragon.     What's  here  ?  the  portrait  of  a  blinking 

idiot, 

Presenting  me  a  schedule !     I  will  read  it. 
How  much  unlike  art  thou  to  Portia  I 
How  much  unlike  my  hopes  and  my  deservings  ! 
*  Who  chooseth  me  shall  have  as  much  as  he 

deserves.' 

Did  I  deserve  no  more  than  a  fool's  head  ? 
Is  that  my  prize  ?  are  my  deserts  no  better  ?  So 

Portia.     To  offend,  and  judge,  are  distinct  offices 

And  of  opposed  natures. 
Arragon.  What  is  here  ? 

[Reads]    The  fire  seven  times  tried  this : 

Seven  times  tried  that  judgement  is, 
That  did  never  choose  amiss. 

48.   ruin,  rubbish.      51.   assume,  take  to  myself. 


76  The  Merchant  of  Venice        [Act  in 

Some  there  be  that  shadows  kiss ; 

Such  have  but  a  shadow's  bliss : 

There  be  fools  alive,  i-wis, 

Silver'd  o'er ;  and  so  was  this. 

Take  what  wife  you  will  to  bed,  70 

I  will  ever  be  your  head : 

So  be  gone  :  you  are  sped. 

Still  more  fool  I  shall  appear 

By  the  time  I  linger  here : 

With  one  fool's  head  I  came  to  woo, 

But  I  go  away  with  two. 

Sweet,  adieu.     I'll  keep  my  oath, 

Patiently  to  bear  my  wroth. 

[Exeunt  Arragon  and  train. 
Portia.     Thus  hath  the  candle  singed  the  moth. 

O,  these  deliberate  fools  !  when  they  do  choose,    80 
They  have  the  wisdom  by  their  wit  to  lose. 
Nerissa.     The  ancient  saying  is  no  heresy, 

Hanging  and  wiving  goes  by  destiny. 
Portia.     Come,  draw  the  curtain,  Nerissa. 

Enter  a  Servant 

Servant.     Where  is  my  lady  ? 

Portia.  Here  :  what  would  my  lord  ? 

Servant.     Madam,  there  is  alighted  at  your  gate 
A  young  Venetian,  one  that  comes  before 
To  signify  the  approaching  of  his  lord ; 

68.  i-wis,  assuredly.     81.  wit,  knowledge,  power  of  mind. 


Scene  I]       The  Merchant  of  Venice  77 

From  whom  he  bringeth  sensible  regreets, 

To  wit,  besides  commends  and  courteous  breath,     90 

Gifts  of  rich  value.     Yet  I  have  not  seen 

So  likely  an  ambassador  of  love : 

A  day  in  April  never  came  so  sweet, 

To  show  how  costly  summer  was  at  hand, 

As  this  fore-spurrer  comes  before  his  lord. 

Portia.     No  more,  I  pray  thee  :  I  am  half  afeard 
Thou  wilt  say  anon  he  is  some  kin  to  thee, 
Thou  spend'st  such  high-day  wit  in  praising  him. 
Come,  come,  Nerissa ;  for  I  long  to  see 
Quick  Cupid's  post  that  comes  so  mannerly.         100 

Nerissa.     Bassanio,  Lord   Love,  if  thy  will  it  be ! 

\Exeunt. 

ACT   III 

SCENE   I.      Venice.     A  street 

Enter  SALANIO  and  SALARINO 

Salanio.     Now,  what  news  on  the  Rialto  ? 

Salarino.  Why,  yet  it  lives  there  unchecked 
that  Antonio  hath  a  ship  of  rich  lading  wrecked 
on  the  narrow  seas  ;  the  Goodwins,  I  think  they 
call  the  place ;  a  very  dangerous  flat  and  fatal, 
where  the  carcases  of  many  a  tall  ship  lie  buried, 
as  they  say,  if  my  gossip  Report  be  an  honest 
woman  of  her  word. 

89.   sensible  regreets,  evident  salutations.        90.   commends,  com- 
mendations.     92.   likely,  promising.      loo.  post,  courier. 


78  The  Merchant  of  Venice       [Act  m 

Salanio.  I  would  she  were  as  lying  a  gossip  in 
that  as  ever  knapped  ginger  or  made  her  neigh-  10 
hours  believe  she  wept  for  the  death  of  a  third 
husband.  But  it  is  true,  without  any  slips  of 
prolixity  or  crossing  the  plain  highway  of  talk, 
that  the  good  Antonio,  the  honest  Antonio, — 
O  that  I  had  a  title  good  enough  to  keep  his 
name  company !  — 

Salarino.     Come,  the  full  stop. 

Salanio.  Ha !  what  sayest  thou  ?  Why,  the 
end  is,  he  hath  lost  a  ship. 

Salarino.  I  would  it  might  prove  the  end  of  his 
losses.  21 

Salanio.  Let  me  say  '  amen '  betimes,  lest  the 
devil  cross  my  prayer,  for  here  he  comes  in  the 
likeness  of  a  Jew. 

Enter  SHYLOCK 

How   now,    Shylock!    what    news   among  the 

merchants  ? 
Shylock.     You  knew,  none  so  well,  none  so  well  as 

you,  of  my  daughter's  flight. 
Salarino.     That's  certain  :  I,  for  my  part,  knew  the 

tailor  that  made  the  wings  she  flew  withal.  30 

Salanio.     And  Shylock,  for  his  own  part,  knew  the 

bird  was  fledged  ;  and  then  it  is  the  complexion 

of  them  all  to  leave  the  dam 

10.   knapped,  broke  into  small  pieces.        32.  complexion,  dispo- 
sition, nature. 


Scene  I]        The   Merchant  of  Venice  79 

Shylock.     My  own  flesh  and  blood  to  rebel ! 

Salarino.     There  is  more  difference   between    thy    41 
flesh  and  hers  than  between  jet  and  ivory  ;  more 
between  your  bloods  than  there  is  between  red 
wine  and  Rhenish.     But  tell   us,  do  you  hear 
whether  Antonio  have  had  any  loss  at  sea  or  no  ? 

Shylock.  There  I  have  another  bad  match ;  a 
bankrupt,  a  prodigal,  who  dare  scarce  show  his 
head  on  the  Rialto ;  a  beggar,  that  was  used  to 
come  so  smug  upon  the  mart ;  let  him  look  to  his 
bond :  he  was  wont  to  call  me  usurer ;  let  him  50 
look  to  his  bond  :  he  was  wont  to  lend  money  for 
a  Christian  courtesy ;  let  him  look  to  his  bond. 

Salarino.     Why,    I    am   sure,    if    he   forfeit,   thou 
wilt  not  take  his  flesh :  what's  that  good  for  ? 

Shylock.  To  bait  fish  withal :  if  it  will  feed  nothing 
else,  it  will  feed  my  revenge.  He  hath  disgraced 
me,  and  hindered  me  half  a  million  ;  laughed  at 
my  losses,  mocked  at  my  gains,  scorned  my 
nation,  thwarted  my  bargains,  cooled  my  friends, 
heated  mine  enemies  ;  and  what's  his  reason  ?  I  60 
am  a  Jew.  Hath  not  a  Jew  eyes  ?  hath  not  a 
Jew  hands,  organs,  dimensions,  senses,  affections, 
passions  ?  fed  with  the  same  food,  hurt  with  the 
same  weapons,  subject  to  the  same  diseases, 
healed  by  the  same  means,  warmed  and  cooled 
by  the  same  winter  and  summer,  as  a  Christian 

46.   match,  bargain.       49.   smug,  trim,  neat.       56.   disgraced  me, 
lowered  me  in  public  estimation. 


8o  The  Merchant  of  Venice        [Act  m 

is  ?  If  you  prick  us,  do  we  not  bleed  ?  if  you 
tickle  us,  do  we  not  laugh  ?  if  you  poison  us,  do  we 
not  die  ?  and  if  you  wrong  us,  shall  we  not  revenge  ? 
If  we  are  like  you  in  the  rest,  we  will  resemble  70 
you  in  that.  If  a  Jew  wrong  a  Christian,  what 
is  his  humility  ?  Revenge.  If  a  Christian  wrong 
a  Jew,  what  should  his  sufferance  be  by  Christian 
example  ?  Why,  revenge.  The  villany  you  teach 
me,  I  will  execute,  and  it  shall  go  hard  but  I  will 
better  the  instruction. 

Enter  a  Servant 

Servant.     Gentlemen,   my   master    Antonio    is    at 

his  house  and  desires  to  speak  with  you  both. 

Salarino.     We  have  been  up  and  down  to  seek  him. 

Enter  TUBAL 

Salanio.     Here   comes   another    of    the    tribe :    a    80 
third  cannot  be  matched,  unless  the  devil  himself 
turn  Jew. 

[Exeunt  Salanio^  Salarino,  and  Servant. 

Shylock.     How    now,    Tubal !     what    news     from 
Genoa  ?  hast  thou  found  my  daughter  ? 

Tubal.     I   often   came  where  I  did  hear  of  her, 
but  cannot  find  her. 

Shylock.     Why,  there,  there,  there,  there!    a   dia- 
mond  gone,  cost  me  two  thousand  ducats   in 

72.  humility,  humanity.         81.   cannot  be  matched,  cannot  be 
found  to  match  them.      88.   cost,  that  cost. 


Scene  I]        The  Merchant  of  Venice  81 

Frankfort !  The  curse  never  fell  upon  our  nation 
till  now ;  I  never  felt  it  till  now  ;  two  thousand  90 
ducats  in  that ;  and  other  precious,  precious 
jewels.  I  would  my  daughter  were  dead  at  my 
foot,  and  the  jewels  in  her  ear !  would  she  were 
hearsed  at  my  foot,  and  the  ducats  in  her  coffin  1 
No  news  of  them  ?  Why  so  ?  and  I  know  not 
what's  spent  in  the  search  :  why  then,  loss  upon 
loss  !  the  thief  gone  with  so  much,  and  so  much 
to  find  the  thief ;  and  no  satisfaction,  no  revenge  : 
nor  no  ill  luck  stirring  but  what  lights  on  my 
shoulders ;  no  sighs  but  of  my  breathing ;  no 
tears  but  of  my  shedding.  10* 

TubaL  Yes,  other  men  have  ill  luck  too :  Antonio, 
as  I  heard  in  Genoa,  — 

Shylock.     What,  what,  what  ?  ill  luck,  ill  luck  ? 

TubaL  Hath  an  argosy  cast  away,  coming  from 
Tripolis. 

Shylock.  I  thank  God,  1  thank  God.  Is't  true, 
is't  true? 

TubaL  I  spoke  with  some  of  the  sailors  that 
escaped  the  wreck.  no 

Shylock.  I  thank  thee,  good  Tubal:  good  news, 
good  news!  ha,  ha!  here?  in  Genoa? 

TubaL  Your  daughter  spent  in  Genoa,  as  I 
heard,  in  one  night  fourscore  ducats. 

Shylock.  Thou  stickest  a  dagger  in  me :  I  shall 
never  see  my  gold  again :  fourscore  ducats  at  a 
sitting !  fourscore  ducats  ! 

MERCH.   OF  VENICE  —  6 


82  The  Merchant  of  Venice        [Act  ill 

TubaL  There  came  divers  of  Antonio's  creditors 
in  my  company  to  Venice,  that  swear  he  cannot 
choose  but  break.  120 

Shy  lock.  I  am  very  glad  of  it:  I'll  plague  him; 
I'll  torture  him :  I  am  glad  of  it. 

TubaL  One  of  them  showed  me  a  ring  that  he 
had  of  your  daughter  for  a  monkey. 

Shylock.  Out  upon  her  1  Thou  torturest  me, 
Tubal :  it  was  my  turquoise ;  I  had  it  of  Leah 
when  I  was  a  bachelor  :  I  would  not  have  given 
it  for  a  wilderness  of  monkeys. 

Tubal.     But  Antonio  is  certainly  undone. 

Shylock.  Nay,  that's  true,  that's  very  true.  Go,  130 
Tubal,  fee  me  an  officer ;  bespeak  him  a  fortnight 
before.  I  will  have  the  heart  of  him,  if  he  forfeit ; 
for,  were  he  out  of  Venice,  I  can  make  what 
merchandise  I  will.  Go,  go,  Tubal,  and  meet 
me  at  our  synagogue ;  go,  good  Tubal ;  at  our 
synagogue,  Tubal.  [Exeunt. 

SCENE  II.     Belmont.     A  room  in  Portia's  house 

Enter  BASSANIO,  PORTIA,  GRATIANO,  NERISSA,  and 
Attendants 

Portia.     I  pray  you,  tarry  :  pause  a  day  or  two 
Before  you  hazard  ;  for,  in  choosing  wrong, 
I  lose  your  company :  therefore  forbear  awhile. 
There's  something  tells  me,  but  it  is  not  love, 

120.  break,  fail. 


Scene  ii]       The  Merchant  of  Venice  83 

I  would  not  lose  you ;    and  you  know  yourself, 

Hate  counsels  not  in  such  a  quality. 

But  lest  you  should  not  understand  me  well,  — 

And  yet  a  maiden  hath  no  tongue  but  thought,  — 

I  would  detain  you  here  some  month  or  two 

Before  you  venture  for  me.     I  could  teach  you      10 

How  to  choose  right,  but  I  am  then  forsworn ; 

So  will  I  never  be  :  so  may  you  miss  me  ; 

But  if  you  do,  you'll  make  me  wish  a  sin, 

That  I  had  been  forsworn.     Beshrew  your  eyes, 

They  have  o'erlook'd  me  and  divided  me ; 

One  half  of  me  is  yours,  the  other  half  yours, 

Mine  own,  I  would  say  ;  but  if  mine,  then  yours, 

And  so  all  yours.     O,  these  naughty  times 

Put  bars  between  the  owners  and  their  rights  1 

And  so,  though  yours,  not  yours.     Prove  it  so,      20 

Let  fortune  go  to  hell  for  it,  not  I. 

I  speak  too  long ;  but  'tis  to  peize  the  time, 

To  eke  it  and  to  draw  it  out  in  length, 

To  stay  you  from  election. 

Bassanio.  Let  me  choose ; 

For  as  I  am,  I  live  upon  the  rack. 

Portia.     Upon  the  rack,  Bassanio  !  then  confess 

What  treason  there  is  mingled  with  your  love. 
r>v  Bassanio.     None  but  that  ugly  treason  of  mistrust, 
Which  makes  me  fear  the  enjoying  of  my  love : 
<L  There  may  as  well  be  amity  and  life  30 

14.   Beshrew,  woe  to.     15.    o1  erlook1  d,  bewitched.     18.    naughty, 
worthless.       22.  peize,  weigh.      24.  election,  choice. 


84  The  Merchant  of  Venice        [Act  ill 

'Tween  snow  and  fire,  as  treason  and  my  love. 

Portia.     Ay,  but  I  fear  you  speak  upon  the  rack, 
Where  men  enforced  do  speak  anything. 

Bassanio.     Promise  me  life,  and  I'll  confess  the 
truth. 

Portia.     Well  then,  confess  and  live. 

Bassanio.  '  Confess  '  and  '  love  ' 

Had  been  the  very  sum  of  my  confession : 
O  happy  torment,  when  my  torturer 
Doth  teach  me  answers  for  deliverance ! 
But  let  me  to  my  fortune  and  the  caskets. 

Portia.     Away,  then  !  I  am  lock'd  in  one  of  them  :      40 
If  you  do  love  me,  you  will  find  me  out. 
Nerissa  and  the  rest,  stand  all  aloof. 
Let  music  sound  while  he  doth  make  his  choice  ; 
Then,  if  he  lose,  he  makes  a  swan-like  end, 
Fading  in  music  :  that  the  comparison 
May  stand  more  proper,  my  eye  shall  be  the 

stream 

And  watery  death-bed  for  him.     He  may  win ; 
And  what  is  music  then  ?     Then  music  is 
Even  as  the  flourish  when  true  subjects  bow 
To  a  new-crowned  monarch  :  such  it  is  50 

As  are  those  dulcet  sounds  in  break  of  day 
That  creep  into  the  dreaming  bridegroom's  ear 
And  summon  him  to  marriage.     Now  he  goes, 
With  no  less  presence,  but  with  much  more  love, 

45.   Fading,  departing.      51.   dulcet,  sweet.      54.  presence,  dig- 
nity of  bearing. 


Scene  II]      The  Merchant  of  Venice  85 

Than  young  Alcides,  when  he  did  redeem 

The  virgin  tribute  paid  by  howling  Troy 

To  the  sea-monster  :  I  stand  for  sacrifice  ; 

The  rest  aloof  are  the  Dardanian  wives, 

With  bleared  visages,  come  forth  to  view 

The  issue  of  the  exploit.     Go,  Hercules  !     •  60 

Live  thou,  I  live  :  with  much  much  more  dismay 

I  view  the  fight  than  thou  that  makest  the  fray. 

A  Song  the  whilst  BASSANIO  comments  on  the 
caskets  to  himself 

Tell  me  where  is  fancy  bred, 
Or  in  the  heart  or  in  the  head  ? 
How  begot,  how  nourished  ? 

Reply,  reply. 

It  is  engender'd  in  the  eyes, 
With  gazing  fed  ;  and  fancy  dies 
In  the  cradle  where  it  lies. 

A  Let  us  all  ring  fancy's  knell :  7c 

I'll  begin  it,  —  Ding,  dong,  bell. 
AIL     Ding,  dong,  bell. 

i     Bassanio.     So   may  the  outward    shows  be  least 

themselves : 

The  world  is  still  deceived  with  ornament. 
In  law,  what  plea  so  tainted  and  corrupt 
But,  being  season 'd  with  a  gracious  voice, 

74.  still,  ever.      76.  gracious,  pleasing. 


86  The  Merchant  of  Venice        [Act  m 

Obscures  the  show  of  evil  ?     In  religion, 

What  damhe'd  error,  but  some  sober  brow 

Will  bless  it  and  approve  it  with  a  text, 

Hiding  the  grossness  with  fair  ornament  ?  80 

There  is  no  vice  so  simple  but  assumes 

Some  mark  of  virtue  on  his  outward  parts : 

How  many  cowards,  whose  hearts  are  all  as  false 

As  stairs  of  sand,  wear  yet  upon  their  chins 

The  beards  of  Hercules  and  frowning  Mars, 

Who,  inward  searched,  have  livers  white  as  milk ; 

And  these  assume  but  valour's  excrement 

To  render  them  redoubted !     Look  on  beauty, 

And  you  shall  see  'tis  purchased  by  the  weight ; 

Which  therein  works  a  miracle  in  nature,  90 

Making  them  lightest  that  wear  most  of  it : 

So  are  those  crisped  snaky  golden  locks 

Which  make   such  wanton   gambols  with  the 

wind, 

Upon  supposed  fairness,  often  known 
To  be  the  dowry  of  a  second  head, 
The  skull  that  bred  them  in  the  sepulchre. 
Thus  ornament  is  but  the  guil£d  shore 
To  a  most  dangerous  sea  ;  the  beauteous  scarf 
Veiling  an  Indian  beauty ;  in  a  word, 

78.  some  sober  brow,  some  one  of  grave  appearance.  79.  ap- 
prove, confirm.  81.  simple,  absolute.  87.  excrement,  beard. 
88.  redoubted,  redoubtable,  terrible.  92.  crisped,  curled. 

94.   Upon  supposed  fairness,  worn  by  fictitious  beauty.    97.  guiled, 
treacherous. 


Scene  ii]       The  Merchant  of  Venice  87 

The  seeming  truth  which  cunning  times  put  on     100 

To  entrap  the  wisest.     Therefore,  thou  gaudy 
gold, 

Hard  food  for  Midas,  I  will  none  of  thee  ; 

Nor  none  of  thee,  thou  pale  and  common  drudge 

'Tween  man  and  man :  but  thou,  thou  meagre 
lead, 

Which   rather   threatenest   than   dost   promise 
aught, 

Thy  paleness  moves  me  more  than  eloquence ; 

And  here  choose  I :  joy  be  the  consequence  ! 
Portia.     [Aside]     How  all  the  other  passions  fleet 
to  air, 

As  doubtful  thoughts,  and  rash-embraced  de- 
spair, 

And  shuddering  fear,  and  green-eyed  jealousy !     no 

0  love,  be  moderate ;  allay  thy  ecstasy ; 
In  measure  rain  thy  joy ;  scant  this  excess. 

1  feel  too  much  thy  blessing :  make  it  less, 
For  fear  I  surfeit. 

Bassanio.  What  find  I  here  ? 

[Opening  the  leaden  casket. 
Fair  Portia's  counterfeit  1     What  demi-god 
Hath  come  so  near  creation  ?     Move  these  eyes  ? 
Or  whether,  riding  on  the  balls  of  mine, 
Seem  they  in  motion  ?     Here  are  severed  lips, 
Parted  with  sugar  breath  :  so  sweet  a  bar 

1 08.  fleet,  take  flight.        109.   rash-embraced,  rashly  embraced. 
115.    counterfeit,  portrait. 


88  The  Merchant  of  Venice        [Act  m 

Should  sunder  such  sweet  friends.     Here  in  her 

hairs  120 

The  painter  plays  the  spider  and  hath  woven 
A  golden  mesh  to  entrap  the  hearts  of  men 
Faster  than  gnats  in  cobwebs  :  but  her  eyes,  — 
How  could  he  see  to  do  them  ?  having  made 

one, 

Methinks  it  should  have  power  to  steal  both  his 
And  leave  itself  unfurnish'd.    Yet  look,  how  far 
The  substance  of  my  praise  doth  wrong  this 

shadow 

In  underprizing  it,  so  far  this  shadow 
Doth  limp  behind  the  substance.     Here's  the 

scroll,  130 

The  continent  and  summary  of  my  fortune. 

\_Reads\    You  that  choose  not  by  the  view, 
Chance  as  fair  and  choose  as  true ! 
Since  this  fortune  falls  to  you, 
Be  content  and  seek  no  new. 
If  you  be  well  pleased  with  this 
And  hold  your  fortune  for  your  bliss, 
Turn  you  where  your  lady  is 
And  claim  her  with  a  loving  kiss. 

A  gentle  scroll.     Fair  lady,  by  your  leave ;  140 

I  come  by  note,  to  give  and  to  receive. 
Like  one  of  two  contending  in  a  prize, 

126.    unfurnished,  unmatched  with  its  fellow  eye.          131.   con- 
tinent, the  thing  which  contains.        142.  prize,  contest  for  a  prize. 


Scene  ii]      The  Merchant  of  Venice  89 

That  thinks  he  hath  done  well  in  people's  eyes, 
Hearing  applause  and  universal  shout, 
Giddy  in  spirit,  still  gazing  in  a  doubt 
Whether  those  peals  of  praise  be  his  or  no, 
So,  thrice-fair  lady,  stand  I,  even  so ; 
As  doubtful  whether  what  I  see  be  true, 
Until  confirm'd,  sign'd,  ratified  by  you. 
Portia.     You  see  me,  Lord  Bassanio,  where  I  stand, 
Such  as  I  am :  though  for  myself  alone  151 

I  would  not  be  ambitious  in  my  wish, 
To  wish  myself  much  better  ;  yet,  for  you 
I  would  be  trebled  twenty  times  myself ; 
A  thousand  times  more  fair,  ten  thousand  times 

more  rich ; 

That  only  to  stand  high  in  your  account, 
I  might  in  virtues,  beauties,  livings,  friends, 
Exceed  account ;  but  the  full  sum  of  me 
Is  sum  of  —  nothing,  which,  to  term  in  gross,       160 
Is  an  unlesson'd  girl,  unschool'd,  unpractised ; 
Happy  in  this,  she  is  not  yet  so  old 
But  she  may  learn ;  happier  than  this, 
She  is  not  bred  so  dull  but  she  can  learn ; 
Happiest  of  all  in  that  her  gentle  spirit 
Commits  itself  to  yours  to  be  directed, 
As  from  her  lord,  her  governor,  her  king. 
Myself  and  what  is  mine  to  you  and  yours 
Is  now  converted :  but  now  I  was  the  lord 
Of  this  fair  mansion,  master  of  my  servants,         170 

157.  livings,  estates.     160.   to  term  in  gross,  to  define  generally. 


9O  The  Merchant  of  Venice        [Act  in 

Queen  o'er  myself ;  and  even  now,  but  now, 
This  house,  these  servants  and  this  same  myself 
Are  yours,  my  lord :  I  give  them  with  this  ring ; 
Which  when  you  part  from,  lose,  or  give  away, 
Let  it  presage  the  ruin  of  your  love 
And  be  my  vantage  to  exclaim  on  you. 

Bassanio.     Madam,  you  have  bereft  me  of  all  words, 
Only  my  blood  speaks  to  you  in  my  veins  ; 
And  there  is  such  confusion  in  my  powers 
As,  after  some  oration  fairly  spoke  180 

By  a  beloved  prince,  there  doth  appear, 
Among  the  buzzing  pleased  multitude  ; 
Where  every  something,  being  blent  together, 
Turns  to  a  wild  of  nothing,  save  of  joy, 
Express 'd  and  not  express 'd.    But  when  this  ring 
Parts  from  this  finger,  then  parts  life  from  hence : 
O,  then  be  bold  to  say  Bassanio's  dead ! 

Nerissa.     My  lord  and  lady,  it  is  now  our  time, 
That  have  stood  by  and  seen  our  wishes  prosper, 
To  cry,  good  joy  :  good  joy,  my  lord  and  lady  !    190 

Gratiano.     My  lord  Bassanio  and  my  gentle  lady, 
I  wish  you  all  the  joy  that  you  can  wish ; 
For  I  am  sure  you  can  wish  none  from  me : 
And  when  your  honours  mean  to  solemnize 
The  bargain  of  your  faith,  I  do  beseech  you, 
Even  at  that  time  I  may  be  married  too. 

Bassanio.     With  all  my  heart,  so  thou  canst  get  a 
wife. 

180.   spoke,  spoken.     183.   blent,  -blended.     197.    so,  provided  that 


Scene  II]      The  Merchant  of  Venice  91 

Gratiano.     I  thank  your  lordship,  you  have  got  me 

one. 

My  eyes,  my  lord,  can  look  as  swift  as  yours : 
You  saw  the  mistress,  I  beheld  the  maid ;  200 

You  loved,  I  loved  ;  for  intermission 
No  more  pertains  to  me,  my  lord,  than  you. 
Your  fortune  stood  upon  the  casket  there, 
And  so  did  mine  too,  as  the  matter  falls  ; 
For  wooing  here  until  I  sweat  again, 
And  swearing  till  my  very  roof  was  dry 
With  oaths  of  love,  at  last,  if  promise  last, 
I  got  a  promise  of  this  fair  one  here 
To  have  her  love,  provided  that  your  fortune 
Achieved  her  mistress. 

Portia.  Is  this  true,  Nerissa  ?      210 

Nerissa.    Madam,  it  is,  so  you  stand  pleased  withal. 

Bassanio.    And  do  you,  Gratiano,  mean  good  faith  ? 

Gratiano.    Yes,  faith,  my  lord. 

Bassanio.     Our   feast  shall  be   much   honoured   in 
your  marriage 

Gratiano.     But  who  comes  here  ?  Lorenzo  and  his 

infidel  ?  221 

What,  and  my  old  Venetian  friend  Salerio  ? 

Enter  LORENZO,  JESSICA,  and  SALERIO,  a  messenger 
from  Venice 

Bassanio.     Lorenzo  and  Salerio,  welcome  hither  ; 
If  that  the  youth  of  my  new  interest  here 

201.   intermission,  delay,  remissness.      224,   If  that,  if. 


92  The  Merchant  of  Venice        [Act  in 

Have  power  to  bid  you  welcome.    By  your  leave, 

I  bid  my  very  friends  and  countrymen, 

Sweet  Portia,  welcome. 
Portia.  So  do  I,  my  lord : 

They  are  entirely  welcome. 

Lorenzo.     I  thank  your  honour.     For  my  part,  my 
lord, 

My  purpose  was  not  to  have  seen  you  here ;        230 

But  meeting  with  Salerio  by  the  way, 

He  did  entreat  me,  past  all  saying  nay, 

To  come  with  him  along. 
Salerio.  I  did,  my  lord ; 

And  I  have  reason  for  it.     Signor  Antonio 

Commends  him  to  you. 

[Gives  Bassanio  a  letter. 
Bassanio.  Ere  I  ope  his  letter, 

I  pray  you,  tell  me  how  my  good  friend  doth. 
Salerio.     Not  sick,  my  lord,  unless  it  be  in  mind ; 

Nor  well,  unless  in  mind :  his  letter  there 

Will  show  you  his  estate. 

[Bassanio  opens  the  letter. 
Gratiano.     Nerissa,  cheer  yon  stranger ;   bid   her 

welcome.  249 

Your  hand,    Salerio:    what's    the   news  from 
Venice  ? 

How  doth  that  royal  merchant,  good  Antonio  ? 

I  know  he  will  be  glad  of  our  success ; 

We  are  the  Jasons,  we  have  won  the  fleece. 

226.  very,  true.        239.  estate,  state,  condition. 


Scene  II]       The  Merchant  of  Venice  93 

Saler.     I  would  you  ha4  won  the  fleece  that  he  hath 

lost. 
Portia.     There  are  some  shrewd  contents  in  yon 

same  paper, 

That  steals  the  colour  from  Bassanio's  cheek  : 
Some  dear  friend   dead;  else  nothing  in  the 

world 

Could  turn  so  much  the  constitution 
Of  any  constant  mind.     What,  worse  and  worse  ! 
With  leave,  Bassanio  ;  I  am  half  yourself,  251 

And  I  must  freely  have  the  half  of  anything 
That  this  same  paper  brings  you.   s 
Bassanio.  O  sweet  Portia, 

Here  are  a  few  of  the  unpleasant'st  words 
That  ever  blotted  paper !     Gentle  lady, 
When  I  did  first  impart  my  love  to  you, 
I  freely  told  you,  all  the  wealth  I  had 
Ran  in  my  veins,  I  was  a  gentleman; 
And  then  I  told  you  true  :  and  yet,  dear  lady, 
Rating  myself  at  nothing,  you  shall  see  260 

How  much  I  was  a  braggart.     When  I  told  you 
My  state  was  nothing,  I  should  then  have  told 

you 

That  I  was  worse  than  nothing ;  for  indeed 
I  have  engaged  myself  to  a  dear  friend, 
Engaged  my  friend  to  his  mere  enemy, 
To  feed  my  means.     Here  is  a  letter,  lady ; 

246.  shrewd,  evil.     249.  constitution,  temper  of  mind.     250.  con- 
stant, self-possessed.     265.  mere,  pure,  absolute. 


94  The  Merchant  of  Venice        [Act  in 

The  paper  as  the  body  of  my  friend, 
And  every  word  in  it  a  gaping  wound, 
Issuing  life-blood.     But  is  it  true,  Salerio  ? 
Have  all  his  ventures  faiPd  ?     What,  not  one 

hit? 

From  Tripolis,  from  Mexico  and  England,  271 

From  Lisbon,  Barbary  and  India  ? 
And  not  one  vessel  scape  the  dreadful  touch 
Of  merchant-marring  rocks? 

Salerio.  Not  one,  my  lord. 

Besides,  it  should  appear,  that  if  he  had 
The  present  money  to  discharge  the  Jew, 
He  would  not  take  it.     Never  did  I  know 
A  creature,  that  did  bear  the  shape  of  man, 
So  keen  and  greedy  to  confound  a  man : 
He  plies  the  duke  at  morning  and  at  night, 
And  doth  impeach  the  freedom  of  the  state,         280 
If  they  deny  him  justice  :  twenty  merchants, 
The  duke  himself,  and  the  magnificoes 
Of  greatest  port,  have  all  persuaded  with  him ; 
But  none  can  drive  him  from  the  envious  plea 
\  Of  forfeiture,  of  justice  and  his  bond. 
Jessica.     When  I  was  with  him  I  have  heard  him 

swear 

To  Tubal  and  to  Chus,  his  countrymen, 
That  he  would  rather  have  Antonio's  flesh 
Than  twenty  times  the  value  of  the  sum 

269.  Issuing,  emitting.     273.   scape,  escape.     283.  port,  station. 
283.  persuaded,  argued.     284.   envious,  malicious. 


Scene  II]      The  Merchant  of  Venice  95 

That  he  did  owe  him  :  and  I  know,  my  lord,         290 
If  law,  authority  and  power  deny  not, 
It  will  go  hard  with  poor  Antonio. 

Portia.     Is  it  your  dear  friend  that  is  thus  in  trouble  ? 

Bassanio.     The  dearest  friend  to  me,  the  kindest 

man, 

The  best-condition 'd  and  unwearied  spirit 
In  doing  courtesies,  and  one  in  whom 
The  ancient  Roman  honour  more  appears 
Than  any  that  draws  breath  in  Italy. 

Portia.     What  sum  owes  he  the  Jew  ? 

Bassanio.     For  me  three  thousand  ducats. 

Portia.  What,  no  more  ?  300 

Pay  him  six  thousand,  and  deface  the  bond ; 
Double  six  thousand,  and  then  treble  that, 
Before  a  friend  of  this  description 
Shall  lose  a  hair  thorough  Bassanio's  fault. 
First  go  with  me  to  church  and  call  me  wife, 
And  then  away  to  Venice  to  your  friend ; 
For  never  shall  you  lie  by  Portia's  side 
With  an  unquiet  soul.     You  shall  have  gold 
To  pay  the  petty  debt  twenty  times  over  : 
When  it  is  paid,  bring  your  true  friend  along.       310 
My  maid  Nerissa  and  myself  meantime 
Will  live  as  maids  and  widows.     Come,  awayl 
For  you  shall  hence  upon  your  wedding-day : 
Bid  your  friends  welcome,  show  a  merry  cheer : 

291.   deny,  forbid.       301.   deface,  cancel.        314.    cheer t  counte- 


96  The  Merchant  of  Venice        [Act  m 

Since  you  are  dear  bought,  I  will  love  you  dear. 
But  let  me  hear  the  letter  of  your  friend. 
Bassanio.     \Reads\  Sweet  Bassanio,  my  ships  have 
all  miscarried,  my  creditors  grow  cruel,  my  es- 
tate is  very  low,  my  bond  to  the  Jew  is  forfeit ; 
and  since  in  paying  it,  it  is  impossible  I  should  320 
live,  all  debts  are  cleared  between  you  and  I.    If 
I  might  but  see  you  at  my  death  :  —  notwith- 
standing, use  your  pleasure  :  if  your  love  do  not 
persuade  you  to  come,  let  not  my  letter. 
Portia.     O  love,  dispatch  all  business,  and  be  gone  1 
Bassanio.     Since  I  have  your  good  leave  to  go  away, 

I  will  make  haste  :  but,  till  I  come  again, 
No  bed  shall  e'er  be  guilty  of  my  stay, 
No  rest  be  interposer  'twixt  us  twain.  [Exeunt. 

SCENE  III.      Venice.     A  street 
Enter  SHYLOCK,  SALARINO,  ANTONIO,  and  JAILOR 

Shylock.     Jailor,  look  to  him :  tell  not  me  of  mercy ; 

This  is  the  fool  that  lent  out  money  gratis : 

Jailor,  look  to  him. 

Antonio.          *  Hear  me  yet,  good  Shylock. 

Shylock.     I'll  have  my  bond  ;  speak  not  against  my 
bond : 

I  have  sworn  an  oath  that  I  will  have  my  bond. 

Thou  calPdst  me  dog  before  thou  hadst  a  cause ; 

But,  since  I  am  a  dog,  beware  my  fangs : 

319.  forfeit,  forfeited. 


Scene  Hi]     The   Merchant  of  Venice  97 

The  duke  shall  grant  me  justice.     I  do  wonder, 

Thou  naughty  jailor,  that  thou  art  so  fond 

To  come  abroad  with  him  at  his  request.  10 

Antonio.     I  pray  thee,  hear  me  speak. 

Sky  lock.     I'll  have  my  bond ;  I  will  not  hear  thee 

speak : 

I'll  have  my  bond  ;  and  therefore  speak  no  more. 
I'll  not  be  made  a  soft  and  dull-eyed  fool, 
To  shake  the  head,  relent,  and  sigh,  and  yield 
To  Christian  intercessors.     Follow  not ; 
I'll  have  no  speaking  ;  I  will  have  my  bond. 

[Exit. 

Salarino.     It  is  the  most  impenetrable  cur 
That  ever  kept  with  men. 

Antonio.  Let  him  alone  : 

I'll  follow  him  no  more  with  bootless  prayers.        20 

He  seeks  my  life  ;  his  reason  well  I  know  : 

I  oft  deliver'd  from  his  forfeitures 

Many  that  have  at  times  made  moan  to  me  ; 

Therefore  he  hates  me. 

Salarino.  I  am  sure  the  duke 

Will  never  grant  this  forfeiture  to  hold. 

Antonio.     The  duke  cannot  deny  the  course  of  law : 
For  the  commodity  that  strangers  have 
With  us  in  Venice,  if  it  be  denied, 
Will  much  impeach  the  justice  of  his  state ; 

9.  naughty,  worthless.  9.  fond,  foolish.  14.  dull-eyed,  want- 
ing in  perception.  19.  kept,  associated.  23.  made  moan,  com- 
plained. 27.  commodity,  facility  in  trading. 

MERCH.   OF  VENICE  —  7 


98  The  Merchant  of  Venice        [Act  m 

Since  that  the  trade  and  profit  of  the  city  30 

Consisteth  of  all  nations.     Therefore  go : 

These  griefs  and  losses  have  so  bated  me, 

That  I  shall  hardly  spare  a  pound  of  flesh 

To-morrow  to  my  bloody  creditor. 

Well,  jailor,  on.     Pray  God,  Bassanio  come 

To  see  me  pay  his  debt,  and  then  I  care  not ! 

\Exeunt.    > 

SCENE  IV.     Belmont.     A  room  in  Portia's  house 

Enter  PORTIA,  NERISSA,  LORENZO,  JESSICA,  and 
BALTHASAR 

Lorenzo.     Madam,   although   I    speak   it  in    your 

presence, 

You  have  a  noble  and  a  true  conceit 
Of  god-like  amity ;  which  appears  most  strongly 
In  bearing  thus  the  absence  of  your  lord. 
But  if  you  knew  to  whom  you  show  this  honour, 
How  true  a  gentleman  you  send  relief, 
How  dear  a  lover  of  my  lord  your  husband, 
I  know  you  would  be  prouder  of  the  work 
Than  customary  bounty  can  enforce  you. 

Portia.     I  never  did  repent  for  doing  good,  10 

Nor  shall  not  now  :  for  in  companions 
That  do  converse  and  waste  the  time  together, 
Whose  souls  do  bear  an  equal  yoke  of  love, 

32.  bated,  reduced,  lowered.     2.  conceit,  idea,  ideal.     7.   lover, 
friend.    12.  waste,  spend. 


Scene  IV]     The  Merchant  of  Venice  99 

There  must  be  needs  a  like  proportion 

Of  lineaments,  of  manners  and  of  spirit ; 

Which  makes  me  think  that  this  Antonio, 

Being  the  bosom  lover  of  my  lord, 

Must  needs  be  like  my  lord.     If  it  be  so, 

How  little  is  the  cost  I  have  bestow'd 

In  purchasing  the  semblance  of  my  soul  20 

From  out  the  state  of  hellish  misery ! 

This  comes  too  near  the  praising  of  myself : 

Therefore  no  more  of  it :  hear  other  things. 

Lorenzo,  I  commit  into  your  hands 

The  husbandry  and  manage  of  my  house 

Until  my  lord's  return  :  for  mine  own  part, 

I  have  toward  heaven  breathed  a  secret  vow 

To  live  in  prayer  and  contemplation, 

Only  attended  by  Nerissa  here, 

Until  her  husband  and  my  lord's  return :  30 

There  is  a  monastery  two  miles  off ; 

And  there  will  we  abide.     I  do  desire  you 

Not  to  deny  this  imposition, 

The  which  my  love  and  some  necessity 

Now  lays  upon  you. 

Lorenzo.  Madam,  with  all  my  heart : 

I  shall  obey  you  in  all  fair  commands. 

Portia.     My  people  do  already  know  my  mind, 
And  will  acknowledge  you  and  Jessica 
In  place  of  Lord  Bassanio  and  myself. 

15.    lineaments,    features.  25.    husbandry,    stewardship. 

25.   manage,  management.      33.    imposition,  task  imposed. 


loo  The   Merchant  of  Venice        [Act  in 

And  so  farewell,  till  we  shall  meet  again.  40 

Lorenzo.     Fair  thoughts  and   happy  hours   attend 

on  you ! 

Jessica.     I  wish  your  ladyship  all  heart's  content. 
Portia.     I  thank  you  for  your  wish,  and  am  well 

pleased 

To  wish  it  back  on  you :  fare  you  well,  Jessica. 
[Exeunt  Jessica  and  Lorenzo. 
Now,  Balthasar, 

As  I  have  ever  found  thee  honest-true, 
So   let  me   find   thee   still.     Take   this   same 

letter, 

And  use  thou  all  the  endeavour  of  a  man 
In  speed  to  Padua :  see  thou  render  this 
Into  my  cousin's  hand,  Doctor  Bellario ;  50 

And,  look,  what  notes  and  garments  he  doth  give 

thee, 

Bring  them,  I  pray  thee,  with  imagined  speed 
Unto  the  tranect,  to  the  common  ferry 
Which   trades   to  Venice.     Waste   no  time  in 

words, 

But  get  thee  gone  :  I  shall  be  there  before  thee. 
Balthasar.     Madam,  I  go  with  all  convenient  speed.- 

[Exit. 

Portia.     Come  on,  Nerissa ;  I  have  work  in  hand 
That  you  yet  know  not  of :  we'll  see  our  hus- 
bands 
Before  they  think  of  us. 

53.  tranect,  crossing,  place  of  ferriage. 


Scene  IV]     The  Merchant  of  Venice  101 

Nerissa.  Shall  they  see  us  ? 

Portia.     They  shall,  Nerissa ;  but  in  such  a  habit,      60 
That  they  shall  think  we  are  accomplished 
With  that  we  lack.     I'll  hold  thee  any  wager, 
When  we  are  both  accoutred  like  young  men, 
I'll  prove  the  prettier  fellow  of  the  two, 
And  wear  my  dagger  with  the  braver  grace, 
And   speak  between  the  change  of  man  and 

boy 

With  a  reed  voice,  and  turn  two  mincing  steps 
Into  a  manly  stride,  and  speak  of  frays 
Like  a  fine  bragging  youth,  and  tell  quaint  lies, 
How  honourable  ladies  sought  my  love,  70 

Which  I  denying,  they  fell  sick  and  died ; 
I  could  not  do  withal ;  then  I'll  repent, 
And  wish,  for  all  that,  that  I  had  not  kilPd 

them ; 

And  twenty  of  these  puny  lies  I'll  tell, 
That  men  shall  swear  I  have  discontinued  school 
Above  a  twelvemonth.     I  have  within  my  mind 
A  thousand  raw  tricks  of  these  bragging  Jacks, 

Which  I  will  practise 

But  come,  I'll  tell  thee  all  my  whole  device  81 

When  I  am  in  my  coach,  which  stays  for  us 
At  the  park  gate  ;  and  therefore  haste  away, 
For  we  must  measure  twenty  miles  to-day. 

[Exeunt. 

63.   accoutred,  dressed.     67.    mincing,  short,  dainty.     77.   raw, 
crude. 


IO2  The   Merchant  of  Venice        [Act  ill 

SCENE  V.     The  same.     A  garden 
Enter  LAUNCELOT  and  JESSICA 

Launcelot.  Yes,  truly;  for,  look  you,  the  sins  of 
the  father  are  to  be  laid  upon  the  children : 
therefore,  I  promise  ye,  I  fear  you.  I  was 
always  plain  with  you,  and  so  now  I  speak  my 
agitation  of  the  matter :  therefore  be  of  good 
cheer,  for  truly  I  think  you  are  damned. 
There  is  but  one  hope  in  it  that  can  do  you 
any  good ;  and  that  is  but  a  kind  of  base 
hope  neither. 

Jessica.     And  what  hope  is  that,  I  pray  thee  ?  10 

Launcelot.  Marry,  you  may  partly  hope  that  .  .  . 
you  are  not  the  Jew's  daughter. 

Jessica.  That  were  a  kind  of  ...  hope,  indeed : 
so  the  sins  of  my  mother  should  be  visited 
upon  me. 

Launcelot.  Truly  then  I  fear  you  are  damned 
both  by  father  and  mother :  thus  when  I  shun 
Scylla,  your  father,  I  fall  into  Charybdis,  your 
mother :  well,  you  are  gone  both  ways.  20 

Jessica.  I  shall  be  saved  by  my  husband  ;  he  hath 
made  me  a  Christian. 

Launcelot.  Truly,  the  more  to  blame  he :  we  were 
Christians  enow  before ;  e'en  as  many  as  could 
well  live,  one  by  another.  This  making  of  Chris- 
tians will  raise  the  price  of  hogs  :  if  we  grow  all 
5.  agitation,  for  cogitation.  24.  enow,  enough. 


Scene  V]       The  Merchant  of  Venice  103 

to  be  pork-eaters,  we  shall  not  shortly  have  a 
rasher  on  the  coals  for  money. 

Enter  LORENZO 

Jessica.  I'll  tell  my  husband,  Launcelot,  what 
you  say :  here  he  comes.  3o 

Lorenzo.  I  shall  grow  jealous  of  you  shortly, 
Launcelot 

Jessica.  Nay,  you  need  not  fear  us,  Lorenzo: 
Launcelot  and  I  are  out.  He  tells  me  flatly, 
there  is  no  mercy  for  me  in  heaven,  because  I 
am  a  Jew's  daughter :  and  he  says,  you  are  no 
good  member  of  the  commonwealth,  for  in  con- 
verting Jews  to  Christians,  you  raise  the  price  of 
pork.  39 

Lorenzo.     I  think  the  best  grace  of  wit  will  shortly 
turn  into  silence,  and  discourse  grow  commend-    50 
able  in  none  only  but  parrots^    Go  in,  sirrah,  bid 
them  prepare  for  dinner. 

Launcelot.  That  is  done,  sir;  they  have  all 
stomachs. 

Lorenzo.  Goodly  Lord,  what  a  wit-snapper  are  you  1 
then  bid  them  prepare  dinner. 

Launcelot.     That  is  done  too,  sir ;  only  '  cover '  is 
the  word. 

Lorenzo.     Will  you  cover  then,  sir  ? 

54.  stomachs,  also  meaning  appetites.      57,,  'cover?  set  the  tabie, 
also  put  on  your  hat. 


104  The  Merchant  of  Venice        [Act  IV 

Launcelot.     Not  so,  sir,  neither ;  I  know  my  duty. 

Lorenzo.  Yet  more  quarrelling  with  occasion !  Wilt  60 
thou  show  the  whole  wealth  of  thy  wit  in  an  in- 
stant ?  I  pray  thee,  understand  a  plain  man  in 
his  plain  meaning :  go  to  thy  fellows  ;  bid  them 
cover  the  table,  serve  in  the  meat,  and  we  will 
come  in  to  dinner. 

Launcelot.  For  the  table,  sir,  it  shall  be  served  in ; 
for  the  meat,  sir,  it  shall  be  covered ;  for  your 
coming  in  to  dinner,  sir,  why,  let  it  be  as  humours 
and  conceits  shall  govern.  [Exit. 

Lor.     O  dear  discretion,  how  his  words  are  suited  1    70 
The  fool  hath  planted  in  his  memory 
An  army  of  good  words  ;  and  I  do  know 
A  many  fools,  that  stand  in  better  place, 
Garnished  like  him,  that  for  a  tricksy  word 
Defy  the  matter.     How  cheer'st  thou,  Jessica  ? 
And  now,  good  sweet,  say  thy  opinion, 
How  dost  thou  like  the  Lord  Bassanio's  wife  ? 

Jessica.     Past  all  expressing.     It  is  very  meet 
The  Lord  Bassanio  live  an  upright  life ; 
For,  having  such  a  blessing  in  his  lady,  80 

He  finds  the  joys  of  heaven  here  on  earth ; 
And  if  on  earth  he  do  not  mean  it,  then 
In  reason  he  should  never  come  to  heaven. 
Why,  if  two  gods  should  play  some  heavenly 
match 

60.    occasion,  opportunity  (of  quibbling).        74.  tricksy ',  tricky. 
5.  cheer' st,  forest. 


Scene  I]        The  Merchant  of  Venice  105 

And  on  the  wager  lay  two  earthly  women, 

And  Portia  one,  there  must  be  something  else 

Pawn'd  with  the  other,  for  the  poor  rude  world 

Hath  not  her  fellow. 
Lorenzo.  Even  such  a  husband 

Hast  thou  of  me  as  she  is  for  a  wife. 
Jessica.     Nay,  but  ask  my  opinion  too  of  that.  90 

Lorenzo.     I  will  anon :  first,  let  us  go  to  dinner. 
Jessica.     Nay,  let  me  praise  you  while  I  have  a 

stomach. 
Lorenzo.      No,  pray  thee,  let  it  serve  for  table-talk; 

Then,   howsoe'er  thou  speak'st,    'mong  other 
things 

I  shall  digest  it. 
Jessica.  Well,  I'll  set  you  forth.     \Exeunt 

ACT   IV 

SCENE  I.      Venice.     A  court  of  justice 

Enter  the  DUKE,  the  Magnificoes,  ANTONIO,  BASSANIO, 
GRATIANO,  SALERIO,  and  others 

Duke.     What,  is  Antonio  here  ? 
Antonio.     Ready,  so  please  your  grace. 
Duke.     I  am  sorry  for  thee :  thou  art  come  to  an- 
swer 

87.   Pawn'd,  wagered.        89.   ofmc>  in  me.        92.   stomach,  an 
appetite,  here  also  the  courage. 


io6  The  Merchant  of  Venice         [Act  iv 

A  stony  adversary,  an  inhuman  wretch 

Uncapable  of  pity,  void  and  empty 

From  any  dram  of  mercy. 
Antonio.  I  have  heard 

Your  grace  hath  ta'en  great  pains  to  qualify 

His  rigorous  course ;  but  since  he  stands  obdu- 
rate 

And  that  no  lawful  means  can  carry  me 

Out  of  his  envy's  reach,  I  do  oppose  10 

My  patience  to  his  fury,  and  am  arm'd 

To  suffer,  with  a  quietness  of  spirit, 

The  very  tyranny  and  rage  of  his. 
Duke.     Go  one,  and  call  the  Jew  into  court. 
Salerio.     He  is  ready  at  the  door :  he  comes,  my  lord. 

Enter  SHYLOCK 

Duke.     Make  room,  and  let  him  stand  before  our 

face. 

Shylock,  the  world  thinks,  and  I  think  so  too, 
That  thou  but  lead'st  this  fashion  of  thy  malice 
To  the  last  hour  of  act ;  and  then  'tis  thought 
Thou'lt   show  thy   mercy   and   remorse    more 

strange  20 

Than  is  thy  strange  apparent  cruelty ; 
And  where  thou  now  exact'st  the  penalty, 
Which  is  a  pound  of  this  poor  merchant's  flesh, 
Thou  wilt  not  only  loose  the  forfeiture, 

7.    ta'en,  taken.      7.    qualify,   modify.      10.    envy's,  malice's. 
20.  remorse,  relenting.     22.  where,  whereas.     24.  loose,  remit. 


Scene  I]       The  Merchant  of  Venice  107 

But,  touch'd  with  human  gentleness  and  love, 
Forgive  a  moiety  of  the  principal ; 
Glancing  an  eye  of  pity  on  his  losses, 
That  have  of  late  so  huddled  on  his  back, 
Enow  to  press  a  royal  merchant  down 
AnH  pluck  commiseration  of  his  state  30 

From  brassy  bosoms  and  rough  hearts  of  flint, 
From  stubborn  Turks  and  Tartars,  never  train 'd 
To  offices  of  tender  courtesy. 
We  all  expect  a  gentle  answer,  Jew. 
Shy  lock.     I  have  possess 'd  your  grace  of  what  I 

purpose 

And  by  our  holy  Sabbath  have  I  sworn 
To  have  the  due  and  forfeit  of  my  bond : 
If  you  deny  it,  let  the  danger  light . 
Upon  your  charter  and  your  city's  freedom. 
You'll  ask  me,  why  I  rather  choose  to  have  40 

A  weight  of  carrion  flesh  than  to  receive 
Three  thousand  ducats :  I'll  not  answer  that : 
But  say,  it  is  my  humour :  is  it  answer'd? 
What  if  my  house  be  troubled  with  a  rat, 
And  I  be  pleased  to  give  ten  thousand  ducats 
To  have  it  baned  ?    What,  are  you  answer'd  yet  ? 
Some  men  there  are  love  not  a  gaping  pig ; 
Some,  that  are  mad  if  they  behold  a  cat ; 
Some,  when  they  hear  the  bag-pipe  sings  i'th 

nose: 

26.   moiety,  a  part,  not  necessarily  half.      29.  Enow,  enough. 
35.  possessed,  informed.       46.  baned,  poisoned. 


io8  The  Merchant  of  Venice         [Act  IV 

•    i  '  . for  affection,     50 

Master  of  passion,  sways  it  to  the  mood 
Of  what  it  likes  or  loathes.     Now,  for  your  an- 
swer : 

As  there  is  no  firm  reason  to  be  rendered, 
Why  he  cannot  abide  a  gaping  pig ; 
Why  he,  a  harmless  necessary  cat ; 
Why  he,  a  woollen  bag-pipe  ;  but  of  force 
Must  yield  to  such  inevitable  shame 
As  to  offend,  himself  being  offended ; 
So  can  I  give  no  reason,  nor  I  will  not, 
More  than  a  lodged  hate  and  a  certain  loathing     60 
I  bear  Antonio,  that  I  follow  thus 
A  losing  suit  against  him.     Are  you  answer'd  ?/ 
Bassanio.     This  is  no  answer,  thou  unfeeling  man, 

To  excuse  the  current  of  thy  cruelty. 
Shylock.     I  am  not  bound  to  please  thee  with  my 

answers. 
Bassanio.     Do  all  men  kill  the  things  they  do  not 

love? 
Shylock.     Hates  any  man  the  thing  he  would  not 

kill? 

Bassanio.     Every  offence  is  not  a  hate  at  first. 
Shylock.     What,  wouldst  thou  have  a  serpent  sting 

thee  twice  ? 
Antonio.     I  pray  you,  think,  you  question  with  the 

Jew :  7° 

53.  firm,   sound.  68.    offence,    resentment,    also    affront 

70.   question,  argue. 


Scene  I]        The  Merchant  of  Venice  109 

You  may  as  well  go  stand  upon  the  beach 
And  bid  the  main  flood  bate  his  usual  height ; 
You  may  as  well  use  question  with  the  wolf 
Why  he  hath  made  the  ewe  bleat  for  the  lamb ; 
You  may  as  well  forbid  the  mountain  pines 
To  wag  their  high  tops  and  to  make  no  noise, 
When  they  are  f  retten  with  the  gusts  of  heaven ; 
You  may  as  well  do  anything  most  hard, 
As   seek  to   soften   that  —  than   which  what's 

harder  ?  — 

His  Jewish  heart :  therefore,  I  do  beseech  you,      80 
Make  no  more  offers,  use  no  farther  means, 
But  with  all  brief  and  plain  conveniency 
Let  me  have  judgement  and  the  Jew  his  will./ 

Bassanio.     For  thy  three  thousand  ducats  here  is  six. 

Shylock.     If  every  ducat  in  six  thousand  ducats 
Were  in  six  parts  and  every  part  a  ducat, 
I  would  not  draw  them  ;  I  would  have  my  bond. 

Duke.     How  shalt  thou  hope  for  mercy,  rendering 
none? 

Shylock.     What  judgment  shall  I  dread,  doing  no 

wrong  ? 

You  have  among  you  many  a  purchased  slave,       90 
Which,  like  your  asses  and  your  dogs  and  mules, 
You  use  in  abject  and  in  slavish  parts, 
Because  you  bought  them  :  shall  I  say  to  you, 
Let  them  be  free,  marry  them  to  your  heirs  ? 

72.   main  flood,  the  ocean's  tide.     77.  fretien,  fretted.     82.  con 
reniency,  suitability.      83.  judgement,  sentence. 


no  The  Merchant  of  Venice         [Act  iv 

Why  sweat  they  under  burthens  ?  let  their  beds 

Be  made  as  soft  as  yours  and  let  their  palates 

Be  season'd  with  such  viands  ?     You  will  answer 

'  The  slaves  are  ours  : '  so  do  I  answer  you : 

The  pound  of  flesh,  which  I  demand  of  him, 

Is  dearly  bought ;  'tis  mine  and  I  will  have  it.         ioc 

If  you  deny  me,  fie  upon  your  law ! 

There  is  no  force  in  the  decrees  of  Venice. 

I  stand  for  judgement :  answer;  shall  I  have  it? 

Duke.     Upon  my  power  I  may  dismiss  this  court, 
Unless  Bellario,  a  learned  doctor, 
Whom  I  have  sent  for  to  determine  this, 
Come  here  to-day. 

Salerio.  My  lord,  here  stays  without 

A  messenger  with  letters  from  the  doctor, 
New  come  from  Padua. 

Duke.     Bring  us  the  letters  ;  call  the  messenger.        no 

Bassanio.     Good  cheer,  Antonio  !    What,  man,  cour- 
age yet ! 
The  Jew  shall  have  my  flesh,  blood,  bones,  and 

all, 
Ere  thou  shalt  lose  for  me  one  drop  of  blood. 

Antonio.     I  am  a  tainted  wether  of  the  flock, 
Meetest  for  death  :  the  weakest  kind  of  fruit 
Drops  earliest  to  the  ground  ;  and  so  let  me : 
You  cannot  better  be  employ'd,  Bassanio, 
Than  to  live  still  and  write  mine  epitaph. 

104.   Upon  my  power,  on  my  authority.     106.  determine,  decide, 
1 1 8.  still)  yet. 


Scene  I]        The  Merchant  of  Venice  1 1 1 

Enter  NERISSA,  dressed  like  a  lawyers  clerk 

Duke.     Came  you  from  Padua,  from  Bellario?  119 

Nerissa.  From  both,  my  lord.  Bellario  greets  your 
grace.  [Presenting  a  letter. 

Bassanio.  Why  dost  thou  whet  thy  knife  so  ear- 
nestly ? 

Shylock.     To  cut  the  forfeiture  from  that  bankrupt 

there. 

\  • 

Gratiano.     Not  on  thy  sole,  but  on  thy  soul,  harsh 

Jew, 

Thou  makest  thy  knife  keen ;  but  no  metal  can, 
No,  not  the  hangman's  axe,  bear  half  the  keen- 
ness 
Of   thy  sharp  envy.      Can  no  prayers  pierce 

thee? 
Shylock.     No,  none  that  thou  hast  wit  enough  to 

make. 

Gratiano.     O,  be  thou  damn'd,  inexecrable  dog! 
And  for  thy  life  let  justice  be  accused. 
Thou  almost  makest  me  waver  in  my  faith  130 

To  hold  opinion  with  Pythagoras, 
That  souls  of  animals  infuse  themselves 
Into  the  trunks  of  men :  thy  currish  spirit 
Governed  a  wolf,  who  hang'd  for  human  slaugh- 
ter, 
Even  from  the  gallows  did  his  fell  soul  fleet, 

125.  hangman's,  executioner's.     126.  envy,  malice.     128.  inexe- 
.rable,  that  can  not  be  execrated  enough.     135.  fleet,  flit,  take  flight. 


112  The  Merchant  of  Venice        [Act  IV 

And,  whilst  thou  lay'st  in  thy  unhallow'd  dam, 

Infused  itself  in  thee  ;  for  thy  desires 

Are  wolvish,  bloody,  starved  and  ravenous. 

Shylock.     Till  thou  canst  rail  the  seal  from  off  my 

bond, 

Thou  but  off  end 'st  thy  lungs  to  speak  so  loud  :     140 
Repair  thy  wit,  good  youth,  or  it  will  fall 
To  cureless  ruin.     I  stand  here  for  law. 

Duke.     This  letter  from  Bellario  doth  commend 
A  young  and  learned  doctor  to  our  court. 
Where  is  he  ? 

Nerissa.  He  attendeth  here  hard  by, 

To   know  your  answer,  whether  you'll   admit 
him. 

Duke.     With  all  my  heart.     Some  three  or  four  of 

you 

Go  give  him  courteous  conduct  to  this  place. 
Meantime  the  court  shall  hear  Bellario's  letter. 

Clerk.  \Reads\  Your  grace  shall  understand  150 
that  at  the  receipt  of  your  letter  I  am  very  sick : 
but  in  the  instant  that  your  messenger  came,  in 
loving  visitation  was  with  me  a  young  doctor  of 
Rome  ;  his  name  is  Balthasar.  I  acquainted  him 
with  the  cause  in  controversy  between  the  Jew 
and  Antonio  the  merchant :  we  turned  o'er  many 
books  together :  he  is  furnished  with  my  opinion ; 
which,  bettered  with  his  own  learning,  the  great- 

140.  offencTst,  annoyst.     142.  cureless,  past  restoring.     153.  lov- 
tng,  friendly. 


Scene  I]        The  Merchant  of  Venice  113 

ness  whereof  I  cannot  enough  commend,  comes 
with  him,  at  my  importunity,  to  fill  up  your   160 
grace's  request  in  my  stead.    I  beseech  you,  let 
his  lack  of  years  be  no  impediment  to  let  him  lack 
a  reverend  estimation  ;  for  I  never  knew  so  young 
a  body  with  so  old  a  head.    I  leave  him  to  your 
gracious  acceptance,  whose  trial  shall  better  pub- 
lish his  commendation. 
Duke.     You    hear   the    learn'd  Bellario,  what   he 

writes : 
And  here,  I  take  it,  is  the  doctor  come. 

Enter  PORTIA,  dressed  like  a  doctor  of  laws 

Give  me  your  hand.     Came  you  from  old  Bel- 
lario ? 

Portia.     I  did,  my  lord. 
Duke.  You  are  welcome :  take  your  place.    170 

Are  you  acquainted  with  the  difference 

That  holds  this  present  question  in  the  court? 
Portia.     I  am  informed  throughly  of  the  cause. 

Which  is  the  merchant   here,  and  which  the 

Jew? 

Duke.     Antonio  and  old  Shylock,  both  stand  forth. 
Portia.     Is  your  name  Shylock  ? 
Shylock.  Shylock  is  my  name. 

Portia.     Of  a  strange  nature  is  the  suit  you  follow ; 

Yet  in  such  rule  that  the  Venetian  law 

1 60.  fill  up,  fulfil.    165.  whose,  for  his.    171.  difference,  dispute. 
173.  throughly,  thoroughly.     178.  in  such  rule,  so  according  to  form. 

MERCH.    OF  VENICE  —  8 


114  The   Merchant  of  Venice         [Act  IV 

Cannot  impugn  you  as  you  do  proceed. 

You  stand  within  his  danger,  do  you  not  ?  180 

Antonio.     Ay,  so  he  says. 

Portia.  Do  you  confess  the  bond  ? 

Antonio.     I  do. 

Portia.  Then  must  the  Jew  be  merciful. 

Shylock.     On  what  compulsion  must  I  ?  tell  me  that 

Portia.     The  quality  of  mercy  is  not  s  train 'd, 
It  droppeth  as  the  gentle  rain  from  heaven 
Upon  the  place  beneath ;  it  is  twice  blest ; 
It  blesseth  him  that  gives  and  him  that  takes : 
'Tis  mightiest  in  the  mightiest :  it  becomes 
The  throned  monarch  better  than  his  crown ; 
His  sceptre  shows  the  force  of  temporal  power,    190 
The  attribute  to  awe  and  majesty, 
Wherein  doth  sit  the  dread  and  fear  of  kings  \ 
But  mercy  is  above  this  sceptred  sway ; 
It  is  enthroned  in  the  hearts  of  kings, 
It  is  an  attribute  to  God  himself ; 
And  earthly  power  doth  then  show  likest  God's 
When  mercy  seasons  justice.     Therefore,  Jew, 
Though  justice  be  thy  plea,  consider  this, 
That,  in  the  course  of  justice,  none  of  us 
Should  see  salvation  :     we  do  pray  for  mercy ;      200 
And  that  same  prayer  doth  teach  us  all  to  ren- 
der 

1 80.  danger,  power,  control.  186.  twice  blest,  endowed  with 
double  blessing.  190.  shows,  is  the  emblem  of.  196.  show,  ap- 
pear. 201.  render,  give  as  in  duty  bound. 


Scene  I]       The  Merchant  of  Venice  1 1 5 

The  deeds  of  mercy.     I  have  spoke  thus  much 
To  mitigate  the  justice  of  thy  plea  ; 
Which  if  thou  follow,  this  strict  court  of  Venice 
Must  needs  give  sentence  'gainst  the  merchant    / 
there.  / 

Shy  lock.     My  deeds  upon  my  head  !  I  crave  the  law: 
The  penalty  and  forfeit  of  my  bond. 

Portia.     Is  he  not  able  to  discharge  the  money  ? 

Bassanio.     Yes,  here  I  tender  it  for  him  in  the 

court ; 

Yea,  twice  the  sum  :  if  that  will  not  suffice,          210 
I  will  be  bound  to  pay  it  ten  times  o'er, 
On  forfeit  of  my  hands,  my  head,  my  heart : 
If  this  will  not  suffice,  it  must  appear 
That  malice  bears  down  truth.     And  I  beseech 

you, 

Wrest  once  the  law  to  your  authority : 
To  do  a  great  right,  do  a  little  wrong, 
And  curb  this  cruel  devil  of  his  will. 

Portia.     It  must  not  be ;  there  is  no  power  in  Ven- 
ice 

Can  alter  a  decree  established  : 
'Twill  be  recorded  for  a  precedent,  220 

And  many  an  error  by  the  same  example 
Will  rush  into  the  state  :  it  cannot  be. 

Shylock.     A    Daniel   come   to  judgement !    yea,    a 

Daniel ! 
O  wise  young  judge,  how  I  do  honour  thee  ! 

202.  spoke,  spoken.  214.  trutht  honesty,  honour. 


n6  The  Merchant  of  Venice        [Act  IV 

Portia.     I  pray  you,  let  me  look  upon  the  bond. 

Shylock.     Here  'tis,  most  reverend  doctor,  here  it  is. 

Portia.     Shylock,  there's  thrice  thy  money  offer'd 
thee. 

Shylock.     An  oath,  an  oath,  I   have   an  oath  in 

heaven : 

Shall  I  lay  perjury  upon  my  soul? 
No,  not  for  Venice. 

Portia.  Why,  this  bond  is  forfeit ;     230 

And  lawfully  by  this  the  Jew  may  claim 
A  pound  of  flesh,  to  be  by  him  cut  off 
Nearest  the  merchant's  heart.     Be  merciful : 
Take  thrice  thy  money ;  bid  me  tear  the  bond. 

Shylock.     When  it  is  paid  according  to  the  tenor. 
It  doth  appear  you  are  a  worthy  judge  ; 
You  know  the  law,  your  exposition 
Hath  been  most  sound :  I  charge  you  by  the 

law, 

Whereof  you  are  a  well-deserving  pillar, 
Proceed  to  judgement :  by  my  soul  I  swear  240 

There  is  no  power  in  the  tongue  of  man 
To  alter  me  :  I  stay  here  on  my  bond. 

Antonio.     Most  heartily  I  do  beseech  the  court 
To  give  the  judgement. 

Portia.  Why  then,  thus  it  is 

You  must  prepare  your  bosom  for  his  knife. 

Shylock.     O  noble  judge  !     O  excellent  young  man  ! 

Portia.     For  the  intent  and  purpose  of  the  law 

242.  ont  in  dependence  on* 


Scene  I]        The  Merchant  of  Venice  117 

Hath  full  relation  to  the  penalty 

Which  here  appeareth  due  upon  the  bond. 

Shylock.      'Tis    very   true  :     O   wise    and    upright 

judge !  250 

How  much  more  elder  art  thou  than  thy  looks ! 

Portia.     Therefore  lay  bare  your  bosom. 

Shylock.  Ay,  his  breast : 

So  says  the  bond :  doth  it  not,  noble  judge  ? 
'  Nearest  his  heart : '  those  are  the  very  words. 

Portia.     It  is  so.     Are  there  balance  here  to  weigh 
The  flesh  ? 

Shylock.  I  have  them  ready. 

Por.     Have  by  some  surgeon,  Shylock,  on  your  charge, 
To  stop  his  wounds,  lest  he  do  bleed  to  death. 

Shylock.     Is  it  so  nominated  in  the  bond  ? 

Portia.     It  is  not  so  express 'd  :  but  what  of  that  ?      260 
'Twere  good  you  do  so  much  for  charity. 

Shylock.     I  cannot  find  it ;   'tis  not  in  the  bond. 

Portia.   You,  merchant,  have  you  anything  to  say? 

Antonio.     But  little  :  I  am  arm'd  and  well  prepared. 
Give  me  your  hand,  Bassanio :  fare  you  well ! 
Grieve  not  that  I  am  fallen  to  this  for  you ; 
For  herein  Fortune  shows  herself  more  kind 
Than  is  her  custom :  it  is  still  her  use 
To  let  the  wretched  man  outlive  his  wealth, 
To  view  with  hollow  eye  and  wrinkled  brow         270 
An  age  of  poverty ;  from  which  lingering  penance 

257.    on  your  charge,  at  your  expense.        268.   still  her  uset  ever 
her  custom. 


1 1 8  The  Merchant  of  Venice         [Act  IV 

Of  such  a  misery  doth  she  cut  me  off. 

Commend  me  to  your  honourable  wife : 

Tell  her  the  process  of  Antonio's  end ; 

Say  how  I  love  you,  speak  me  fair  in  death ; 

And,  when  the  tale  is  told,  bid  her  be  judge 

Whether  Bassanio  had  not  once  a  love. 

Repent  but  you  that  you  shall  lose  your  friend. 

And  he  repents  not  that  he  pays  your  debt ; 

For  if  the  Jew  do  cut  but  deep  enough,  280 

I'll  pay  it  presently  with  all  my  heart. 
Bassanio.     Antonio,  I  am  married  to  a  wife 

Which  is  as  dear  to  me  as  life  itself; 

But  life  itself,  my  wife,  and  all  the  world, 

Are  not  with  me  esteem 'd  above  thy  life : 

I  would  lose  all,  ay,  sacrifice  them  all 

Here  to  this  devil,  to  deliver  you. 

Portia.     {Aside']  Your  wife  would  give  you  little  thanks 
for  that, 

If  she  were  by,  to  hear  you  make  the  offer. 
Gratiano.     I  have  a  wife,  whom,  I  protest,  I  love :    290 

I  would  she  were  in  heaven,  so  she  could 

Entreat  some  power  to  change  this  currish  Jew./ 
Ncrissa.     [Aside]  Tis  well  you  offer  it  behind  her 
back; 

The  wish  would  make  else  an  unquiet  house. 
Shylock.     \Aside~]  These  be  the  Christian  husbands. 
I  have  a  daughter ; 

274.  process,  manner.      277.   love,  lover,  dear  friend.      278.   re- 
pent, regret.      281.  presently,  at  once.      283.   Which,  who. 


Scene  I]        The  Merchant  of  Venice  119 

Would  any  of  the  stock  of  Barrabas 

Had  been  her  husband  rather  than  a  Christian ! 

\Aloud]    We  trifle  time :   I  pray  thee,  pursue 

sentence. 
Portia.     A  pound  of  that  same  merchant's  flesh  is 

thine : 

The  court  awards  it,  and  the  law  doth  give  it.      3or 
Shylock.     Most  rightful  judge  ! 
Portia.     And  you  must  cut  this  flesh  from  off  his 

breast : 

The  law  allows  it,  and  the  court  awards  it. 
Shy  lock.    Most  learned  judge  I    A  sentence  1 

Come,  prepare  I 

Portia.     Tarry  a  little ;  there  is  something  else. 
This  bond  doth  give  thee  here  no  jot  of  blood ; 
The  words  expressly  are  *  a  pound  of  flesh : ' 
Take  then  thy  bond,  take  thou  thy  pound  of 

flesh;  .   . 

But,  in  the  cutting  it,  if  thou  dost  shed 
One  drop  of  Christian  blood,  thy  lands  and  goods 
Are,  by  the  laws  of  Venice,  confiscate  311 

Unto  the  state  of  Venice. 
Gratiano.    O  upright  judge  1    Mark,  Jew :    O 

learned  judge ! 
Shy  lock.     Is  that  the  law  ? 

Portia.  Thyself  shalt  see  the  act : 

For,  as  thou  urgest  justice,  be  assured 
Thou  shalt  have  justice,  more  than  thou  desirest. 

311.  confiscate,  confiscated. 


120  The  Merchant  of  Venice         [Act  iv 

Gratiano.     O   learned   judge !    Mark,   Jew  :  a  learned 
judge ! 

Shy  lock.     I  take  his  offer,  then  ;  pay  the  bond  thrice 
And  let  the  Christian  go. 

Bassanio.  Here  is  the  money. 

Portia.  Soft !  320 

The  Jew  shall  have  all  justice  ;  soft !  no  haste : 
He  shall  have  nothing  but  the  penalty. 

Gratiano.     O  Jew !    an   upright  judge,  a   learned 
judge ! 

Portia.    Therefore  prepare  thee  to  cut  off  the  flesh. 
Shed  thou  no  blood,  nor  cut  thou  less  nor  more 
But  just  a  pound  of  flesh  :  if  thou  cut'st  more 
Or  less  than  a  just  pound,  be  it  but  so  much 
As  makes  it  light  or  heavy  in  the  substance, 
Or  the  division  of  the  twentieth  part 
Of  one  poor  scruple,  nay,  if  the  scale  do  turn         330 
But  in  the  estimation  of  a  hair, 
Thou  diest  and  all  thy  goods  are  confiscate. 

Gratiano.     A  second  Daniel,  a  Daniel,  Jew  ! 
Now,  infidel,  I  have  you  on  the  hip. 

Portia.     Why  doth  the  Jew  pause  ?  take  thy  forfei-  - 
ture. 

Shylock.     Give  me  my  principal,  and  let  me  go. 

Bassanio.     I  have  it  ready  for  thee  ;  here  it  is. 

Portia.     He  hath  refused  it  in  the  open  court  r 
He  shall  have  merely  justice  and  his  bond. 

Gratiano.     A  Daniel,  still  say  I,  a  second  Daniel !     340 
I  thank  thee,  Jew,  for  teaching  me  that  word. 


Scene  I]        The  Merchant  of  Venice  121 

Shy  lock.     Shall  I  not  have  barely  my  principal  ? 
Portia.     Thou  shalt  have  nothing  but  the  forfeiture, 

To  be  so  taken  at  thy  peril,  Jew. 
Shy  lock.     Why,  then  the  devil  give  him  good  of  it ! 

I'll  stay  no  longer  here  in  question. 
Portia.  Tarry,  Jew; 

The  law  hath  yet  another  hold  on  you. 

It  is  enacted  in  the  laws  of  Venice, 

If  it  be  proved  against  an  alien 

That  by  direct  or  indirect  attempts  350 

He  seek  the  life  of  any  citizen, 

The  party  'gainst  the  which  he  doth  contrive 

Shall  seize  one  half  his  goods  ;  the  other  half 

Comes  to  the  privy  coffer  of  the  state ; 

And  the  offender's  life  lies  in  the  mercy 

Of  the  duke  only,  'gainst  all  other  voice. 

In  which  predicament,  I  say,  thou  stand'st ; 

For  it  appears,  by  manifest  proceeding, 

That  indirectly  and  directly  too 

Thou  hast  contrived  against  the  very  life  360 

Of  the  defendant ;  and  thou  hast  incurr'd 

The  danger  formerly  by  me  rehearsed. 

Down  therefore  and  beg  mercy  of  the  duke. 
Gratiano.     Beg  that  thou  m^yst  have  leave  to  hang 
thyself : 

And  yet,  thy  wealth  being  forfeit  to  the  state, 

352.  the  which,  whom.  352.  contrive,  plot.  353.  seize,  take 
possession  of.  360.  the  very  life,  life  itself.  362.  formerly, 
above. 


122  The  Merchant  of  Venice         [Act  iv 

Thou  hast  not  left  the  value  of  a  cord  ; 

Therefore  thou  must  be  hang'd  at  the  state's 

charge. 

Duke.     That  thou  shalt  see  the  difference  of  our 
spirits, 

I  pardon  thee  thy  life  before  thou  ask  it: 

For  half  thy  wealth,  it  is  Antonio's  ;  370 

The  other  half  comes  to  the  general  state, 

Which  humbleness  may  drive  unto  a  fine. 
Portia.     Ay,  for  the  state,  not  for  Antonio. 
Shylock.     Nay,  take  my  life  and  all ;  pardon  not 
that  : 

You  take  my  house  when  you  do  take  the  prop 

That  doth  sustain  my  house  ;  you  take  my  life 

When  you  do  take  the  means  whereby  I  live. 
Portia.     What  mercy  can  you  render  him,  Antonio  ? 
Gratiano.     A  halter  gratis ;  nothing  else,  for  God's 

sake. 
Antonio.     So  please  my  lord  the  duke  and  all  the 

court  380 

To  quit  the  fine  for  one  half  of  his  goods, 

I  am  content ;  so  he  will  let  me  have 

The  other  half  in  use,  to  render  it, 

Upon  his  death,  unto  the  gentleman 

That  lately  stole  his  daughter : 

Two  things  provided  more,  that,  for  this  favour, 

He  presently  become  a  Christian  ; 

366.   left,  remaining.      378.  render,  return.      387.  presently,  at 
once. 


Scene  I]        The  Merchant  of  Venice  123 

The  other,  that  he  do  record  a  gift, 

Here  in  the  court,  of  all  he  dies  possess 'd, 

Unto  his  son  Lorenzo  and  his  daughter.  390 

Duke.     He  shall  do  this,  or  else  I  do  recant 

The  pardon  that  I  late  pronounced  here. 
Portia.     Art  thou  contented,  Jew  ?  what  dost  thou 

say? 

Shylock.     I  am  content. 

Portia.  Clerk,  draw  a  deed  of  gift. 

Shy  lock.     I  pray  you,  give  me  leave  to  go  from  hence ; 

I  am  not  well :  send  the  deed  after  me, 

And  I  will  sign  it. 

Duke.  Get  thee  gone,  but  do  it. 

Gratiano.     In  christening  shalt  thou  have  two  god- 
fathers. 

Had  I  been  judge,  thou  shouldst  have  had  ten 
more, 

To  bring  thee  to  the  gallows,  not  the  font,    s       400 

[Exit  Shy  lock. 

Duke.     Sir,  I  entreat  you  home  with  me  to  dinner. 
Portia.     I  humbly  do  desire  your  grace  of  pardon : 

I  must  away  this  night  toward  Padua, 

And  it  is  meet  I  presently  set  forth. 
Duke.     I  am  sorry  that  your  leisure  serves  you  not. 

Antonio,  gratify  this  gentleman, 

For,  in  my  mind,  you  are  much  bound  to  him. 
[Exeunt  Duke  and  his  train. 

389.  possess? dt  possessed  of.    391.  recant,  revoke.    406.  gratify, 
recompense. 


124  The  Merchant  of  Venice         [Act  iv 

Bassanio.     Most  worthy  gentleman,  I  and  my  friend 
Have  by  your  wisdom  been  this  day  acquitted 
Of  grievous  penalties  ;  in  lieu  whereof,  410 

Three  thousand  ducats,  due  unto  the  Jew, 
We  freely  cope  your  courteous  pains  withal. 

Antonio.     And  stand  indebted,  over  and  above, 
In  love  and  service  to  you  evermore. 

Portia.     He  is  well  paid  that  is  well  satisfied ; 
And  I,  delivering  you,  am  satisfied 
And  therein  do  account  myself  well  paid : 
My  mind  was  never  yet  more  mercenary. 
I  pray  you,  know  me  when  we  meet  again : 
I  wish  you  well,  and  so  I  take  my  leave.  420 

Bassanio.     Dear  sir,  of  force  I  must  attempt  you 

further : 

Take  some  remembrance  of  us,  as  a  tribute, 
Not  as  a  fee :  grant  me  two  things,  I  pray  you, 
Not  to  deny  me,  and  to  pardon  me. 

Portia.     You  press  me  far,  and  therefore  I  will  yield. 

\To  Antonio~\     Give  me  your  gloves,  I'll  wear  them 
for  your  sake ; 

\To  Bassanio']     And,  for  your  love,  I'll  take  this 

ring  from  you : 

Do  not  draw  back  your  hand ;  I'll  take  no  more ; 
And  you  in  love  shall  not  deny  me  this. 

Bassanio.     This  ring,  good  sir,  alas,  it  is  a  trifle  !       430 
I  will  not  shame  myself  to  give  you  this. 

412.   cope,  meet,  requite.      412.   withal =  with.     421.   of  forcc^ 
of  necessity.     431.  shame,  disgrace.      431.   to  give,  by  giving. 


Scene  I]        The  Merchant  of  Venice  125 

Portia.     I  will  have  nothing  else  but  only  this  ; 
And  now  methinks  I  have  a  mind  to  it. 

Bassanio.     There's  more  depends  on  this  than  on 

the  value. 

The  dearest  ring  in  Venice  will  I  give  you, 
And  find  it  out  by  proclamation : 
Only  for  this,  I  pray  you,  pardon  me. 

Portia.     I  see,  sir,  you  are  liberal  in  offers : 

You  taught  me  first  to  beg ;  and  now  methinks 
You  teach  me  how  a  beggar  should  be  answer'd.   440 

Bassanio.     Good  sir,  this  ring  was  given  me  by  my 

wife ; 

And  when  she  put  it  on,  she  made  me  vow 
That  I  should  neither  sell  nor  give  nor  lose  it. 

Portia.     That  scuse  serves  many  men  to  save  their 

gifts. 

An  if  your  wife  be  not  a  mad- woman, 
And  know  how  well  I  have  deserved  the  ring, 
She  would  not  hold  out  enemy  for  ever, 
For  giving  it  to  me.     Well,  peace  be  with  you  I 
[Exeunt  Portia  and  Nerissa. 

Antonio.     My  Lord   Bassanio,  let    him    have    the 

ring: 

Let  his  deservings  and  my  love  withal  450 

Be  valued  'gainst  your  wife's  commandement. 

Bassanio.     Go,  Gratiano,  run  and  overtake  him ; 
Give  him  the  ring,  and  bring  him,  if  thou  canst, 

444.  scuse,  excuse.        445.  An  i/=  if.        451.   commandement 
commandment. 


126  The   Merchant  of  Venice          [Act  v 

Unto  Antonio's  house  :  away !  make  haste. 

[Exit  Gratiano. 

Come,  you  and  I  will  thither  presently ; 
And  in  the  morning  early  will  we  both 
Fly  toward  Belmont :  come,  Antonio.    \Exeunt. 

SCENE  II.     The  same.     A  street 
Enter  PORTIA  and  NERISSA 

Portia.     Inquire  the  Jew's  house  out,  give  him  this 

deed 

And  let  him  sign  it :  we'll  away  to-night 
And  be  a  day  before  our  husbands  home : 

This  deed  will  be  well  welcome  to  Lorenzo. 
^ 

Enter  GRATIANO 

Gratiano.     Fair  sir,  you  are  well  o'erta'en : 
My  Lord  Bassanio  upon  more  advice 
Hath  sent  you  here  this  ring,  and  doth  entreat 
Your  company  at  dinner. 

Portia.  That  cannot  be : 

His  ring  I  do  accept  most  thankfully : 
And  so,  I  pray  you,  tell  him :  furthermore,  10 

I  pray  you,  show  my  youth  old  Shylock's  house. 

Gratiano.     That  will  I  do. 

Nerissa.  Sir,  I  would  speak  with  you. 

\Aside  to  Portia}  I'll  see  if  I  can  get  my  hus- 
band's ring, 

455.  presently,  at  once.         5.  tfertcten,  overtaken. 


Scene  I]        The  Merchant  of  Venice  127 

Which  I  did  make  him  swear  to  keep  for  ever. 
Portia.  \Aside  to  Nerissd\    Thou  may'st,  I  warrant. 

We  shall  have  old  swearing 
That  they  did  give  the  rings  away  to  men ; 
But  we'll  outface  them,  and  outs  wear  them  too. 
[Aloud]  Away !  make  haste :  thou  know'st  where 

I  will  tarry. 
Nerissa.     Come,  good  sir,  will  you  show  me  to  this 

house  ?  [Exeunt.      . 

PROPERTY  OF 
DEPARTMENT  ^BRIATIG  ART 

SCENE  I.    Belmont.    Avenue  to  Portia's  house 

Enter  LORENZO  and  JESSICA 

Lorenzo.     The  moon  shines  bright :  in  such  a  night 

as  this, 

When  the  sweet  wind  did  gently  kiss  the  trees 
And  they  did  make  no  noise,  in  such  a  night 
Troilus  methinks  mounted  the  Troyan  walls 
And  sigh'd  his  soul  toward  the  Grecian  tents, 
Where  Cressid  lay  that  night. 

Jessica.  In  such  a  night 

Did  Thisbe  fearfully  o'ertrip  the  dew 
And  saw  the  lion's  shadow  ere  himself 
And  ran  dismay'd  away. 

Lorenzo.  In  such  a  night 

Stood  Dido  with  a  willow  in  her  hand  10 


\28  The  Merchant  of  Venice          [Act  v 

Upon  the  wild  sea  banks  and  waft  her  love 

To  come  again  to  Carthage. 
Jessica.  In  such  a  night 

Medea  gathered  the  enchanted  herbs 

That  did  renew  old  ^Eson. 
Lorenzo.  In  such  a  night 

Did  Jessica  steal  from  the  wealthy  Jew 

And  with  an  unthrift  love  did  run  from  Venice 

As  far  as  Belmont. 
Jessica.  In  such  a  night 

Did  young  Lorenzo  swear  he  loved  her  well, 

Stealing  her  soul  with  many  vows  of  faith 

And  ne'er  a  true  one. 
Lorenzo.  In  such  a  night  20 

Did  pretty  Jessica,  like  a  little  shrew, 

Slander  her  love,  and  he  forgave  it  her. 
Jessica.     I  would  out-night  you,  did  no  body  come ; 

But,  hark,  I  hear  the  footing  of  a  man. 

Enter  STEPHANO 

Lorenzo.     Who  comes  so  fast  in  silence  of  the  night  ? 

Stephano.     A  friend. 

Lorenzo.     A  friend!  what  friend  ?  your  name,  I  pray 
you,  friend  ? 

Stephano.     Stephano  is  my  name  ;  and  I  bring  word 
My  mistress  will  before  the  break  of  day 
Be  here  at  Belmont :  she  doth  stray  about  30 

II.   waft,  wafted.         16.   unthrift,  unthrifty. 


Scene  I]        The   Merchant  of  Venice  129 

By  holy  crosses,  where  she  kneels  and  prays 

For  happy  wedlock  hours. 

Lorenzo.  Who  comes  with  her  ? 

Stephano.     None  but  a  holy  hermit  and  her  maid. 

I  pray  you,  is  my  master  yet  return 'd  ? 
Lorenzo.     He  is  not,  nor  we  have  not  heard  from 
him. 

But  go  we  in,  I  pray  thee,  Jessica, 
.    And  ceremoniously  let  us  prepare 

Some  welcome  for  the  mistress  of  the  house. 

Enter  LAUNCELOT 

Launcelot.     Sola,  sola !  wo  ha,  ho  !  sola,  sola ! 

Lorenzo.     Who  calls  ?  40 

Launcelot.     Sola !   did  you   see   Master  Lorenzo  ? 
Master  Lorenzo,  sola,  sola  1 

Lorenzo.     Leave  hollaing,  man :  here. 

Launcelot.     Sola  !  where  ?  where  ? 

Lorenzo.     Here. 

Launcelot.  Tell  him  there's  a  post  come  from  my 
master,  with  his  horn  full  of  good  news :  my 
master  will  be  here  ere  morning.  [Exit. 

Lorenzo.     Sweet  soul,  let's  in,  and  there  expect 

their  coming. 

And  yet  no  matter :  why  should  we  go  in  ?  50 

My  friend  Stephano,  signify,  I  pray  you, 
Within  the  house,  your  mistress  is  at  hand ; 

46.  post,  courier. 

MERCH.   OF  VENICE — 9 


ijo  The  Merchant  of  Venice          [Act  v 

And  bring  your  music  forth  into  the  air. 

\Exit  Stephana. 

How  sweet  the  moonlight  sleeps  upon  this  bank ! 
Here  will  we  sit  and  let  the  sounds  of  music 
Creep  in  our  ears  :  soft  stillness  and  the  night 
Become  the  touches  of  sweet  harmony. 
Sit,  Jessica.     Look  how  the  floor  of  heaven 
Is  thick  inlaid  with  patines  of  bright  gold  : 
There's  not  the  smallest  orb  which  thou  behold 'st  60 
But  in  his  motion  like  an  angel  sings, 
Still  quiring  to  the  young-eyed  cherubins ; 
Such  harmony  is  in  immortal  souls ; 
But  whilst  this  muddy  vesture  of  decay 
Doth  grossly  close  it  in,  we  cannot  hear  it.    / 

Enter  Musicians 

Come,  ho !  and  wake  Diana  with  a  hymn : 
With  sweetest  touches  pierce  your  mistress*  ear 
And  draw  her  home  with  music.  [Music. 

Jessica.     I  am  never  merry  when  I  hear  sweet  music. 

Lorenzo.     The  reason  is,  your  spirits  are  attentive :     70 
For  do  but  note  a  wild  and  wanton  herd, 
Or  race  of  youthful  and  unhandled  colts, 
Fetching  mad  bounds,  bellowing  and  neighing 

loud, 

Which  is  the  hot  condition  of  their  blood ; 
If  they  but  hear,  perchance,  a  trumpet  sound, 

62.  still,  continually.     62.  quiring,  singing  in  concert.     65.  dost 
.  .  in,  enclose. 


Scene  I]        The   Merchant  of  Venice  131 

Or  any  air  of  music  touch  their  ears, 

You  shall  perceive  them  make  a  mutual  stand, 

Their  savage  eyes  turn'd  to  a  modest  gaze 

By  the  sweet  power  of  music  :  therefore  the  poet 

Did  feign  that  Orpheus  drew  trees,  stones  and 

floods ;  80 

Since  nought  so  stockish,  hard  and  full  of  rage, 
But  music  for  the  time  doth  change  his  nature. 
The  man  that  hath  no  music  in  himself, 
Nor  is  not  moved  with  concord  of  sweet  sounds, 
Is  fit  for  treasons,  stratagems  and  spoils ; 
The  motions  of  his  spirit  are  dull  as  night 
And  his  affections  dark  as  Erebus : 
Let  no  such  man  be  trusted.     Mark  the  music. 


Enter  PORTIA  and  NERISSA 

Portia.     That  light  we  see  is  burning  in  my  hall. 

How  far  that  little  candle  throws  his  beams  !          90 
So  shines  a  good  deed  in  a  naughty  world. 

Nerissa.     When  the  moon  shone,  we  did  not  see 
the  candle. 

Portia.     So  doth  the  greater  glory  dim  the  less : 
A  substitute  shines  brightly  as  a  king 
Until  a  king  be  by,  and  then  his  state 
Empties  itself,  as  doth  an  inland  brook 
Into  the  main  of  waters.     Music !  hark  ! 

Nerissa.     It  is  your  music,  madam,  of  the  house. 

77.  m utualy  common.     85.  spoils,  acts  of  rapine.     91.  naughty -, 
worthless. 


132  The  Merchant  of  Venice          [Act  V 

Portia.     Nothing  is  good,  I  see,  without  respect : 

Methinks  it  sounds  much  sweeter  than  by  day.     100 
Nerissa.     Silence  bestows  that  virtue  on  it,  madam. 
Portia.     The  crow  doth  sing  as  sweetly  as  the  lark 

When  neither  is  attended,  and  I  think 

The  nightingale,  if  she  should  sing  by  day, 

When  every  goose  is  cackling,  would  be  thought 

No  better  a  musician  than  the  wren. 

How  many  things  by  season  season 'd  are 

To  their  right  praise  and  true  perfection ! 

Peace,  ho !  the  moon  sleeps  with  Endymion 

And  would  not  be  awaked.  \Music  ceases. 

Lorenzo.  That  is  the  voice,     no 

Or  I  am  much  deceived,  of  Portia. 
Portia.     He  knows  me  as  the  blind  man  knows  the 
cuckoo, 

By  the  bad  voice. 

Lorenzo.  Dear  lady,  welcome  home. 

Portia.     We  have  been  praying  for  our  husbands' 
healths, 

Which  speed,  we  hope,  the  better  for  our  words. 

Are  they  returned  ? 
Lorenzo.  Madam,  they  are  not  yet ; 

But  there  is  come  a  messenger  before, 

To  signify  their  coming. 
Portia.  Go  in,  Nerissa-; 

Give  order  to  my  servants  that  they  take 

99.  without  respect,  absolutely,  without  relation  to  circumstances. 
103.  attended,  heeded,  marked. 


Scene  I]        The  Merchant  of  Venice  133 

No  note  at  all  of  our  being  absent  hence ;  120 

Nor  you,  Lorenzo ;  Jessica,  nor  you. 

\A  tucket  sounds. 
Lorenzo.     Your  husband  is  at  hand ;    I  hear  his 

trumpet : 

We  are  no  tell-tales,  madam ;  fear  you  not. 
Portia.     This  night  methinks  is  but  the  daylight 

sick ; 

It  looks  a  little  paler :  'tis  a  day, 
Such  as  the  day  is  when  the  sun  is  hid.         .^ 

Enter  BASSANIO,  ANTONIO,  GRATIANO,  and  their 
followers 

Bassanio.     We  should  hold  day  with  the  Antipodes, 

If  you  would  walk  in  absence  of  the  sun. 
Portia.     Let  me  give  light,  but  let  me  not  be  light ; 

For  a  light  wife  doth  make  a  heavy  husband,        130 

And  never  be  Bassanio  so  for  me : 

But  God  sort  all !     You  are  welcome  home,  my 

lord. 

Bassanio.     I  thank  you,  madam.     Give  welcome  to 
my  friend. 

This  is  the  man,  this  is  Antonio, 

To  whom  I  am  so  infinitely  bound. 
Portia.     You  should  in  all  sense  be  much  bound  to 
him, 

For,  as  I  hear,  he  was  much  bound  for  you. 
Antonio.     No  more  than  I  am  well  acquitted  of. 

130.  heavy,  sad. 


1 34  The  Merchant  of  Venice          [Act  V 

Portia.     Sir,  you  are  very  welcome  to  our  house : 

It  must  appear  in  other  ways  than  words,  140 

Therefore  I  scant  this  breathing  courtesy. 

Gratiano.     \To  Nerissa\     By  yonder  moon  I  swear 

you  do  me  wrong ; 

In  faith,  I  gave  it  to  the  judge's  clerk : 
Would  he  were  dead  that  had  it,  for  my  part, 
Since  you  do  take  it,  love,  so  much  at  heart. 

Portia.     A  quarrel,  ho,  already  !  what's  the  matter  ? 

Gratiano.     About  a  hoop  of  gold,  a  paltry  ring 
That  she  did  give  me,  whose  posy  was 
For  all  the  world  like  cutler's  poetry 
Upon  a  knife,  '  Love  me,  and  leave  me  not.'          150 

Nerissa.     What  talk  you  of  the  posy  or  the  value  ? 
You  swore  to  me,  when  I  did  give  it  you, 
That  you  would  wear  it  till  your  hour  of  death 
And  that  it  should  lie  with  you  in  your  grave : 
Though  not  for  me,  yet  for  your  vehement  oaths, 
You  should  have  been  respective  and  have  kept 

it. 

Gave  it  a  judge's  clerk !  no,  God's  my  judge, 
The  clerk  will  ne'er  wear  hair  on's  face  that 
had  it. 

Gratiano.     He  will,  an  if  he  live  to  be  a  man. 

Nerissa.     Ay,  if  a  woman  live  to  be  a  man.  160 

Gratiano.     Now,  by  this  hand,  I  gave  it  to  a  youth, 
A  kind  of  boy,  a  little  scrubbed  boy, 

156.   respective,  mindful.         159.   an  if=  if.         162.   scrubbed, 
stunted,  undergrown. 


Scene  I]        The   Merchant  of  Venice  135 

No  higher  than  thyself,  the  judge's  clerk, 
A  prating  boy,  that  begg'd  it  as  a  fee : 
I  could  not  for  my  heart  deny  it  him.  / 

Portia.     You  were  to  blame,  I  must  be  plain  with 

you, 

To  part  so  slightly  with  your  wife's  first  gift ; 
A  thing  stuck  on  with  oaths  upon  your  finger 
And  so  riveted  with  faith  unto  your  flesh. 
I  gave  my  love  a  ring  and  made  him  swear  170 

Never  to  part  with  it ;  and  here  he  stands  ; 
I  dare  be  sworn  for  him  he  would  not  leave  it 
Nor  pluck  it  from  his  finger,  for  the  wealth 
That  the  world  masters.     Now,  in  faith,  Grati- 

ano, 

You  give  your  wife  too  unkind  a  cause  of  grief : 
An  'twere  to  me,  I  should  be  mad  at  it. 

Bassanio.     \Aside~\     Why,  I  were  best  to  cut  my 

left  hand  off 
And  swear  I  lost  the  ring  defending  it. 

Gratiano.     My  Lord  Bassanio  gave  his  ring  away 
Unto  the  judge  that  begg'd  it  and  indeed  180 

Deserved  it  too :  and  then  the  boy,  his  clerk, 
That  took  some   pains  in  writing,  he  begg'd 

mine ; 

And  neither  man  nor  master  would  take  aught 
But  the  two  rings. 

Portia.  What  ring  gave  you,  my  lord  ? 

Not  that,  I  hope,  which  you  received  of  me. 

1 76.  An  "'twere,  if  it  were. 


136  The  Merchant  of  Venice          [Act  V 

Bassanio.  If  I  could  add  a  lie  unto  a  fault, 
I  would  deny  it ;  but  you  see  my  finger 
Hath  not  the  ring  upon  it ;  it  is  gone. 

Portia.     Even  so  void  is  your  false  heart  of  truth. 

By  heaven,  I  will  never  be  your  wife  190 

Until  I  see  the  ring. 

Ncrissa.  No,  nor  I  yours 

Till  I  again  see  mine. 

Bzssanio.  Sweet  Portia, 

If  you  did  know  to  whom  I  gave  the  ring, 
If  you  did  know  for  whom  I  gave  the  ring 
And  would  conceive  for  what  I  gave  the  ring 
And  how  unwillingly  I  left  the  ring, 
When  nought  would  be  accepted  but  the  ring, 
You  would  abate  the  strength  of  your  displeas- 
ure. 

Portia.     If  you  had  known  the  virtue  of  the  ring, 

Or  half  her  worthiness  that  gave  the  ring,  200 

Or  your  own  honour  to  contain  the  ring, 

You  would  not  then  have  parted  with  the  ring. 

What  man  is  there  so  much  unreasonable, 

If  you  had  pleased  to  have  defended  it 

With  any  terms  of  zeal,  wanted  the  modesty 

To  urge  the  thing  held  as  a  ceremony  ? 

Nerissa  teaches  me  what  to  believe : 

I'll  die  for't  but  some  woman  had  the  ring. 

Bassanio.     No,  by  my  honour,  madam,  by  my  soul, 

199.  virtue,  power.     201.  contain,  retain,  safe  keep.     205.  mod- 
cstyt  moderation. 


Scene  I]       The  Merchant  of  Venice  137 

No  woman  had  it,  but  a  civil  doctor,  210 

Which  did  refuse  three  thousand  ducats  of  me 

And  begg'd  the  ring ;  the  which  I  did  deny  him 

And  suffer'd  him  to  go  displeased  away ; 

Even  he  that  did  uphold  the  very  life 

Of  my  dear  friend.     What  should  I  say,  sweet 

lady? 

I  was  enforced  to  send  it  after  him ; 
I  was  beset  with  shame  and  courtesy ; 
My  honour  would  not  let  ingratitude 
So  much  besmear  it.     Pardon  me,  good  lady ; 
For,  by  these  blessed  candles  of  the  night,  220 

Had  you  been  there,  I  think  you  would  have 

begg'd 

The  ring  of  me  to  give  the  worthy  doctor,    x 
Portia.    Let  not  that  doctor   e'er  come  near  my 

house : 

Since  he  hath  got  the  jewel  that  I  loved, 
And  that  which  you  did  swear  to  keep  for  me, 
I  will  become  as  liberal  as  you ; 
I'll  not  deny  him  anything  I  have.     «      *     .     . 
Nerissa.     [Nor]   I  his  clerk;  therefore  be  well  ad- 
vised 234 
How  you  do  leave  me  to  mine  own  protection. 
Gratiano.     Well,  do  you  so :  let  not  me  take  him 

then; 
For  if  I  do,  I'll  mar  the  young  clerk's  pen. 

210.   civil  doctor ,  doctor   of  civil   law.          211.    Which,   who. 
212.  the  which,  which.         234.   well  advised,  very  careful. 


138  The   Merchant  of  Venice          [Act  v 

Antonio.     I  am  the  unhappy  subject  of  these  quar- 
rels. 

Portia.    Sir,  grieve  not  you ;  you  are  welcome  not- 
withstanding. 

Bassanio.     Portia,  forgive  me  this  enforced  wrong ;    240 
And,  in  the  hearing  of  these  many  friends, 
I  swear  to  thee,  even  by  thine  own  fair  eyes, 
Wherein  I  see  myself  — 

Portia.  Mark  you  but  that  I 

In  both  my  eyes  he  doubly  sees  himself ; 
In  each  eye,  one :  swear  by  your  double  self, 
And  there's  an  oath  of  credit. 

Bassanio.  Nay,  but  hear  me : 

Pardon  this  fault,  and  by  my  soul  I  swear 
I  never  more  will  break  an  oath  with  thee. 

Antonio.     I  once  did  lend  my  body  for  his  wealth  ; 

Which,  but  for  him  that  had  your  husband's  ring,  250 
Had  quite  miscarried  :  I  dare  be  bound  again, 
My  soul  upon  the  forfeit,  that  your  lord 
Will  never  more  break  faith  advisedly. 

Portia.     Then  you  shall  be  his  surety.     Give  him 

this 
And  bid  him  keep  it  better  than  the  other. 

Antonio.     Here,  Lord  Bassanio  ;  swear  to  keep  this 
ring. 

Bassanio.     By  heaven,  it  is  the  same  I  gave  the 
doctor ! 

245.   double,  twofold,  also  full  of  duplicity.        249.   wealth,  well- 
being.     250.    Which,  i.e.  my  body.      253.   advisedly -,  deliberately. 


Scene  I]        The   Merchant  of  Venice  139 

Portia.     I  had  it  of  him:  pardon  me,  Bassanio; 

Nerissa.     And  pardon  me,  my  gentle  Gratiano,          260 
For  that  same  scrubbed  boy,  the  doctor's  clerk. 

Gratiano.     Why,  this  is  like  the  mending  of  highways 
In  summer,  where  the  ways  are  fair  enough. 

Portia.     1  -v   «     .     .     .     .     You  are  all  amazed: 
Here  is  a  letter :  read  it  at  your  leisure ; 
It  comes  from  Padua,  from  Bellario : 
There  you  shall  find  that  Portia  was  the  doctor, 
Nerissa  there  her  clerk :  Lorenzo  here  270 

Shall  witness  I  set  forth  as  soon  as  you 
And  even  but  now  returned :  I  have  not  yet 
Enter'd  my  house.     Antonio,  you  are  welcome ; 
And  I  have  better  news  in  store  for  you 
Than  you  expect :  unseal  this  letter  soon ; 
There  you  shall  find  three  of  your  argosies 
Are  richly  come  to  harbour  suddenly : 
%You  shall  not  know  by  what  strange  accident 
I  chanced  on  this  letter. 

Antonio.  I  am  dumb. 

Bassanio.     Were  you  the  doctor  and  I  knew  you  not  ?  280 

Gratiano.     Were  you  the  clerk  and  yet  I  knew  you 
not? 

Antonio.     Sweet  lady,  you  have  given  me  life  and 

living ; 
277.   richly,  with  rich  freight.        277.   suddenlyy  unexpectedly. 


140  The  Merchant  of  Venice          [Act  V 

For  here  I  read  for  certain  that  my  ships 
Are  safely  come  to  road. 

Portia.  How  now,  Lorenzo ! 

My  clerk  hath  some  good  comforts  too  for  you. 

Nerissa.     Ay,  and  I'll  give  them  him  without  a  fee.   290 
There  do  I  give  to  you  and  Jessica, 
From  the  rich  Jew,  a  special  deed  of  gift, 
After  his  death,  of  all  he  dies  possessed  of. 

Lorenzo.     Fair  ladies,  you  drop  manna  in  the  way 
Of  starved  people. 

Portia.  It  is  almost  morning, 

And  yet  I  am  sure  you  are  not  satisfied 
Of  these  events  at  full.     Let  us  go  in  ; 
And  charge  us  there  upon  inter 'gator  ies, 
And  we  will  answer  all  things  faithfully.  299 

Gratiano.     Let  it  be  so 

Well,  while  I  live  I'll  fear  no  other  thing 
So  sore  as  keeping  safe  Nerissa's  ring. 

\Exeunt. 

288.    road,  harbour.      298.  inter* gator  ies,  interrogatories. 


NOTES 


ACT  I.    SCENE  I 

The  opening  passages  of  a  play  must  put  the  reader  in  possession 
of  the  essentials  on  which  the  plot  is  based  :  the  place,  the  circum- 
stances, and  the  relation  of  the  persons  who  are  to  figure  in  the 
story.  The  title  has  already  conveyed  to  our  minds  the  place, 
Venice  :  to  the  ears  of  the  contemporaries  of  Shakespeare,  the 
celebrated  mart  of  the  East,  a  synonym  for  political  power, 
opulence,  and  glittering  barbaric  profusion.  A  merchant  of 
Venice  was  thus  no  ordinary  man  ;  but,  as  Antonio  is  later  called, 
a  "  royal  merchant,"  one  whose  dealings  were  with  kings,  and  on 
a  scale  of  magnitude  and  splendour.  In  this  opening  scene  the 
keynote  is  struck  in  Antonio's  unreasoning  sadness;  and  the  cir- 
cumstance that  he  has  many  ships  on  many  seas,  together  with  the 
thought  of  the  risks  of  such  ventures,  is  impressed  on  the  reader's 
mind.  Then  follows  the  entrance  of  Bassanio  with  his  friends, 
the  merry  mood  of  Gratiano  contrasting  with  the  melancholy  of 
Antonio;  and  the  scene  ends  with  Bassanio's  confession  of  his 
hopes  as  to  Portia,  and  Antonio's  generous  offer  of  his  credit  to 
further  them.  We  have  in  this  scene  Antonio  in  doubt  as  to  his 
argosies  abroad,  but  staunch  in  his  friendship ;  and  we  have  Bassanio 
embarked  on  his  project,  the  winning  of  Portia.  It  is  out  of  these 
two  circumstances  that  the  two  main  stories  of  the  drama  grow. 

Shylock,  as  the  name  of  a  Jew,  was  known  in  prose  tracts  and  in 
a  ballad  of  Shakespeare's  time.  Its  origin  may  have  been  in  the 
Italian  name,  Scialocca. 

141 


142  Notes  [Act  i 

4.  stuff.    Compare  Tempest,  iv.  I.  156  : 

"  We  are  such  stuff 
As  dreams  are  made  on." 

5.  I  am  [yet]  to  learn,  is  the  fuller  modern  phrase.     Elizabethan 
English  often  thus  omits  a  word.     Compare    The  7wo  Gentlemen 
of  Verona,  ii.  I.  59. 

8.  ocean.     Pronounced  as  three  syllables. 

9.  argosies.     An  argosy  was  usually  a  large  merchantman  ;  and 
the   word  was  probably   derived   from  the   town   of  Ragusa   or 
Arragosa,  which  enjoyed  a  large  trade  with  England  in  the  six- 
teenth century. 

ii.  pageants.  The  pageant  was  the  stage  on  which  the  old 
popular  plays  were  acted  in  the  streets.  The  word  was  often  used 
of  the  plays  themselves.  Shakespeare  here  likens  the  lofty 
merchantmen  with  sails  spread  to  these  tall  and  decorated 
structures. 

13.  curtsy.  "Suggested  by  the  rocking,  ducking  motion  in  the 
petty  traffiquers  caused  by  the  wake  of  the  argosy  as  it  sails  past 
them"  (Furness). 

15.  venture.     What  is  risked  in  a  merchant's  voyage. 

1 8.  Plucking  the  grass,  to  test  the  direction  of  the  wind  by 
dropping  it  from  the  hand. 

25.  hour-glass.  An  hour-glass,  placed  near  the  pulpit,  was 
commonly  used  to  mark  the  duration  of  the  sermon  in  Shake- 
speare's day. 

27.   Andrew,  the  name  of  the  ship. 

35.  worth  this.  The  thought  is  probably  here  completed  by  a 
gesture  of  the  actor. 

50.  Janus,  the  Roman  guardian  deity  of  gates,  represented  with 
two  heads  because  every  door  looks  two  ways. 

56.   Nestor,  the  oldest  and  hence  the  gravest  of  the  heroes. 

67.  You  grow  exceeding  strange.  Compare  the  modern,  "  You 
are  becoming  quite  a  stranger." 


Scene  I]  Notes  143 

67.  must  it  be  so?  Must  you  really  go?  or,  perhaps,  Must  you 
continue  such  a  stranger? 

74.  You  have  too  much  respect  upon  the  world.     You  have  too 
much  regard  for  the  world's  opinion. 

75.  They  lose  it.     It  here  refers  to  the  opinion  of  the  world. 

78.  a  stage,  etc.     Compare  the  famous  passage :  "  All  the  world's 
a  stage,"  As  You  Like  It,  ii.  7.  139. 

79.  play  the  fool.     The  fool,  with  his  cap,  bells,  and  bauble,  was 
a  favourite  character  in  the  old  comedy. 

84.  grandsire  cut  in  alabaster,  an  allusion  to  the  tombs  of  old 
time,  of  which  a  stone  or  alabaster  figure  of  the  deceased  formed 
a  conspicuous  part. 

85.  jaundice.    This  disease  was  supposed  to  cause  everything 
to  appear  yellow  to  the  person  afflicted  with  it.     Compare  Troilus 
and  Cressida,  i.  3.  2. 

89.  cream  and  mantle,  thicken  in  scum  on  the  surface  and  comr 
pletely  cover.  Notice  the  Elizabethan  freedom  which  compels  the 
noun,  without  change  in  form,  to  do  service  as  a  verb. 

93.  As  who  shall  say,  in  modern  phrase,  "As  if  one  should 
say."  An  old  idiom  very  common  in  Shakespeare.  See  below, 
i.  2.  50. 

93.  I  am,  sir,  an  oracle.  This  is  the  reading  of  the  folios;  the 
quartos  read  Sir  Oracle. 

96,97.  reputed  wise  For  saying  nothing.  Compare  Proverbs,  xvii. 
28:  "  Even  a  fool  when  he  holdeth  his  peace  is  counted  wise;  and 
he  that  shutteth  his  lips  is  esteemed  a  man  of  understanding." 

98.  If  they  should  speak,  [they]  would,  etc.  Shakespeare  often 
omits  the  nominative  when  the  sense  will  easily  supply  it,  as  here. 
See  Hamlet,  ii.  2.  67;  iii.  I.  8.  This  passage  contains  an  allusion 
to  Matthew,  v.  22 :  "  Whosoever  shall  say  to  his  brother  .  .  •  '  Thou 
fool/  shall  be  in  danger  of  hell  fire." 

101.   melancholy  bait,  i.e.  melancholy  as  a  bait. 

125.  continuance,  i.e.  continuance  of. 

126.  make  moan  to  be  abridged,  complain  that  I  am  cut  short. 


144  Notes  [Acti 

137.  Within  the  eye  of  honour,  within  the  limits  of  what  can  be 
considered  honourable. 

139.  occasions,  to  be  pronounced  as  four  syllables.  The  termi- 
nations ion  and  ian  are  commonly  pronounced  as  two  syllables; 
see  ocean  above,  i.  i.  8. 

141.  fellow  of  the  self-same  flight,  an  arrow  of  the  same  length, 
weight,  and  feathering,  calculated  to  carry  the  same  distance. 

143.  To  find  the  other  forth,  to  find  out  the  other.  Compare 
Comedy  of  Errors,  i.  2.  37.  This  line  is  two  syllables  longer  than 
the  usual  decasyllabic  line  of  English  blank  verse ;  but  it  runs  easily 
off  the  tongue  in  precisely  the  interval  of  time  required  for  a  verse 
of  ten  syllables.  Shakespeare  wrote  for  the  ear,  and  not  for  the 
eye;  and  these  " irregularities,"  as  they  are  sometimes  called,  are 
not  only  true  to  the  speech  of  his  day,  but  are  often  real  beauties 
from  the  variety  which  they  give  to  the  versification. 

145.  pure  innocence,  childish  foolishness.  Bassanio  is  anxious 
that  his  friend,  Antonio,  shall  understand  that  he  himself  fully 
appreciates  the  real  folly  of  his  plan  to  throw  good  money  after 
bad. 

156.  In  making  question  of  my  uttermost,  in  doubting  my  readi- 
ness to  do  my  utmost  in  your  service. 

165,  1 66.  nothing  undervalued  To  .  .  .  Brutus'  Portia,  i.e. 
when  brought  to  the  side  of,  and  compared  with  Brutus's  Portia. 
See  below,  ii.  7.  53.  Portia,  wife  of  Brutus,  a  woman  of  renown 
for  her  greatness  of  spirit,  figures  in  Shakespeare's  Julius  Casar. 

171.  Colchos*  strand,  in  allusion  to  the  story  of  Jason,  the  famous 
leader  of  the  Argonauts,  who  sought  and  found  the  golden  fleece  in 
Colchos  by  the  aid  of  Medea,  whom  he  made  his  wife  and  brought 
back  to  Greece. 

175.  a  mind  presages.  Note  the  omission  of  the  relative,  a  com- 
mon Shakespearian  idiom.  See  Measure  for  Measure,  ii.  2.  23; 
Richard  II,  ii.  2.  128. 

185.  of  my  trust  or  for  my  sake,  in  consequence  of  my  credit 
or  for  the  sake  of  my  friendship. 


Scene  II]  Notes  145 

ACT  I.     SCENE  II 

Belmont.  Most  of  the  directions  as  to  place  and  scene  in  the 
plays  of  Shakespeare  have  been  added  by  modern  editors.  In  the 
old  editions  the  reader  was  left  to  infer  both  from  the  words  of 
the  text.  Belmont  is  supposed  to  have  been  situated  near  the 
Brenta,  a  fair  stream  of  the  continent,  on  the  banks  of  which 
were  many  of  the  palaces  of  the  magnificoes  of  Venice.  The 
highway  from  Venice  to  Padua  must  have  run  near. 

In  this  scene  we  learn  the  conditions  under  which  Portia  can 
alone  be  won,  and  find  her  heart-whole  as  to  any  of  her  suitors. 
But  Portia  is  not  wholly  fancy-free,  for  on  Nerissa's  mention  of  "  a 
Venetian,  a  scholar  and  a  soldier>  that  came  hither  in  company  of 
the  Marquis  of  Montferrat,"  and  "  in  your  father's  time,"  Portia 
remembers  his  name,  Bassanio,  and  that  he  "was  worthy  of  thy 
praise.'*  This  touch  shows  Bassanio  no  mere  adventurer,  but  a 
gentleman  accredited  by  his  station  in  a  nobleman's  train  and 
by  the  acceptance  of  Portia's  own  father;  and  prepares  us  for 
what  might  otherwise  seem  that  lady's  sudden  and  unaccountable 
preference  for  Bassanio. 

7,  8.  no  mean  happiness  .  .  .  in  the  mean.  It  is  no  happiness  to 
be  despised,  therefore,  to  be  stationed  in  life  between  the  extremes 
of  poverty  and  overabundant  wealth.  Shakespeare  shared  with 
his  age  a  fondness  for  playing  on  words.  See  below,  lines  26,  27, 
the  will  [wish,  desire]  of  a  living  daughter  curbed  by  the  will 
[testament]  of  a  dead  father. 

28.  cannot  choose  one  nor  refuse  none.  In  modern  English,  "  Can 
neither  choose  one  nor  refuse  any."  Nor  is  often  used  after  not. 
See  Macbeth,  ii.  3.  69:  "Tongue  nor  heart  cannot  conceive  nor 
name  thee."  For  the  double  negative,  see  King  John,  v.  7.  1 1 2. 

35.  No  doubt  you  will  never  be  chosen,  etc.  Compare  Portia's 
words  to  Bassanio,  below  (iii.  2.  41):  "If  you  do  love  me,  you 
will  find  me  out."  This  is  the  reading  of  the  first  quarto  of  The 
Merchant  of  Venice;  that  of  the  folio  is  inferior. 

MERCH.  OF  VENICE  —  IO 


146  Notes  [Act  i 

44.  a  colt,  a  wild,  headstrong  youth.  As  the  Neapolitans  were 
notably  skilled  in  horsemanship  in  Shakespeare's  day,  there  is  a 
play  on  the  word  colt. 

50.  as  who  should  say.     Compare  i.  I.  93,  above,  and  the  note 
thereon. 

51.  *  If  you  will  not  have  me,  choose '  [whom  you  will,  and  regret 
youi  choice].     The  sense  is  plainly:    "  Whom  could  you  think  of 
choosing  beside  such  a  paragon  as  I  ?  " 

53.  the  weeping  philosopher,  Heraclitus  of  Ephesus,  who  flourished 
about  500  B.C. 

58.  How  say  you  by  the  French  lord.  What  say  you  with  refer- 
ence to,  etc.  See  below,  ii.  9.  26:  "  By  the  fool  multitude"  ;  and 
compare  the  phrase :  "  Do  as  you  would  be  done  by  "  [i.e.  with  refer- 
ence to]. 

66.  a  capering.  A  is  often  equal  to  "  on  "  before  verbal  nouns. 
Compare  King  Lear,v.  3.  274:  "The  slave  that  was  a  hanging 
there." 

73.  Portia  playfully  twists  Nerissa's  word,  say,  into  a  different 
sense. 

76.  a  poor  pennyworth  in  the  English,  little  knowledge  of  the 
English  tongue. 

80.  doublet  .  .  .  round  hose.     The  doublet  was  the  close-fitting 
jacket  worn  by  men  in  Shakespeare's  day.    The   familiar   figure, 
Punch,  still  wears  a  doublet.     Round  hose  were  trousers  made  very 
large  and  sometimes  stuffed,  or  "bombasted,"  as  it  was  called,  to 
make  them  stand  out. 

81.  bonnet,  commonly  used  for  a  man's  hat.     See  Richard  II, 
i.  4.  31  :    "  Off  goes  his  bonnet  to  an  oyster-wench." 

88.  the  Frenchman  became  his  surety.     In  allusion  to  the  assist- 
ance frequently  offered  by  France  to  Scotland  in  her  quarrels  with 
England,  before  the  union  of  the  two  countries  under  Elizabeth's 
successor,  King  James. 

89.  sealed  under  for  another  [box  on  the  ear].     The  principal, 
or  person  entering  into  a  bond,  was  said  to  "seal  to"  the  bond; 


Scene  II]  JNotCS  147 

his  surety,  i.e.  the  man  who  agreed  to  pay  the  debt  if  the  principal 
did  not,  was  said  to  "  seal  under." 

loo.  you  should  refuse  to  perform,  in  modern  usage,  "  You  would 
refuse."  Should  is  the  past  tense  of  shall,  and  has  undergone  the 
same  modifications  of  meaning.  Should  is  not  now  used  with  the 
second  person  to  denote  mere  futurity,  because  it  suggests  a  duty 
if  not  a  compulsion.  But  we  retain  this  use  of  should  in  the  con- 
ditional clause,  "If  you  should  refuse,"  because  there  can  be  no 
question  of  compulsion  in  that  case.  Shakespeare  did  not  make 
this  distinction. 

109.  the  having.  The  article  often  precedes  a  verbal  noun  when 
the  latter  is  followed  by  an  object,  as  here.  Compare  Macbeth,  i.  4, 
7  :  "  Nothing  in  his  life  Became  him  like  the  leaving  it. " 

113.  by  some  other  sort,  by  some  other  method  or  manner. 

114.  your  father's    imposition,  the   condition  imposed  by  your 
father. 

116.  Sibylla,  used  erroneously  by  Shakespeare  as  a  proper  name. 
There  were  several  prophetic  women  known  as  sibyls  in  ancient 
times.  Of  them  the  Cumaean  sibyl,  consulted  by  ^Eneas,  was  the 
most  famous.  It  was  this  sibyl  that  obtained  from  Apollo  a  prom- 
ise that  her  years  should  be  as  many  as  the  grains  of  sand  she  was 
holding  in  her  hand. 

134.  four  strangers,  six  were  enumerated.  The  plays  of  Shake- 
speare's time  were  subject  to  constant  revision,  and  sometimes  little 
inadvertences,  such  as  this,  remain.  There  may  have  been  but  four 
suitors  named  in  an  earlier  version  of  this  play. 

140,  141.  so  .  .  .  as.  As  is  a  contraction  of  ail-so  (alse,  als,  as}. 
We  still  say :  "  As  I  expected  so  it  happened."  The  Elizabethans 
frequently  used  the  reverse  order.  See  Romeo  and  Juliet,  i.  I. 
140:  "All  so  soon  as." 

146,  147.  It  is  a  common  device  of  plays  of  this  time  to  end  a 
scene  with  a  rhyming  couplet,  as  here.  This  has  been  supposed  by 
some  to  offer  a  cue  to  the  opening  of  a  new  scene,  but  as  such 
rhyming  tags  occur  elsewhere  this  is  not  certain. 


148  Notes  [Act  i 


ACT  I.     SCENE  III 

"Shylock  enters  with  slow,  shuffling  gait;  restless,  half-closed 
eyes,  and  the  fingers  of  his  disengaged  hand  (one  holds  a  staff) 
ever  moving,  as  if  from  the  constant  habit  of  feeling  and  caressing 
the  ducats  that  are  passing  through  them  "  (Booth).  The  Jews  of 
Venice  were  distinguished  by  orange-tawny  and  scarlet  and  black 
hats,  as  they  were  Levantine  or  Italian  Jews.  In  Shakespeare's 
day  Shylock  was  probably  represented  in  the  costume  of  the  Eng- 
lish Jews  and  money-lenders  of  that  time,  a  more  or  less  sombre 
gown  or  gaberdine,  furred  in  winter,  covering  the  customary  doublet 
and  hose,  and  perhaps  distinguished  by  some  such  cap  as  that  just 
mentioned.  The  addition  of  earrings,  which  were  commonly  worn 
by  men  in  Shakespeare's  day,  and  of  finger  and  thumb  rings  would 
be  quite  in  keeping.  Shylock  leans  on  a  staff  not  because  he  is 
infirm,  but  because  of  a  premature  stoop,  the  result  of  much  leaning 
over  his  desk  and  money-bags. 

In  this  scene  the  bargain  is  struck  between  Shylock  and  Antonio, 
and  the  exposition,  as  it  is  called,  —  that  part  of  a  play  that  makes 
clear  the  circumstances  on  which  the  story  is  founded  and  the  rela- 
tions of  the  characters,  —  is  complete.  Shylock's  hatred  of  Antonio 
is  fully  set  forth,  but  not  without  Antonio's  plain  avowal,  on  the 
other  hand,  of  the  contempt  and  insult  with  which  he  had  always 
treated  the  Jew.  It  is  Antonio  that  is  made  to  suggest  the  loan  as 
made  not  to  a  friend,  but  to  an  enemy;  but  it  is  Shylock  who 
after  all  has  guided  the  whole  transaction  and  who  suggests  the 
"  merry  sport,"  a  forfeit  of  a  pound  "  of  your  fair  flesh."  In  Bas- 
sanio's  words :  "  You  shall  not  seal,"  and  "  I  like  not  fair  terms 
and  a  villain's  mind,"  we  have  the  foreboding  and  dramatic  fore- 
shadowing of  Shylock's  terrible  claim  to  come. 

I.  ducats.  A  Venetian  ducat  was  a  gold  coin  varying  in  value, 
but  worth  roughly  about  an  American  dollar. 

4.   the  which,  the  article  is  frequently  thus  employed  to  make 


Scene  III]  Notes  149 

clearer  the  reference  to  its  antecedent,  where  it  would  not  be  so 
used  in  modern  English.  See  below,  iii.  4.  34,  and  compare  the 
phrases,  "  at  the  least,  at  the  length." 

7.    May  you  stead  me  ?   Are  you  willing  to  assist  me? 

1 8.  in  supposition,  doubtful  because  exposed  to  the  hazards  of 
the  sea. 

1 8.    argosy,  see  above,  i.  1.9. 

20.  the  Rialto,  "an  eminent  [i.e.  lofty]  place  in  Venice,"  says 
Florio  {Italian  Dictionary,  1611),  "where  marchants  commonly 
meete,"  as  on  the  Exchange  at  London. 

25.  pirates,  a  very  real  peril  of  the  sea,  especially  of  the  Mediter- 
ranean, in  Shakespeare's  day. 

35.  See  Matthew,  viii.  32 :  "  And  when  they  [the  devils]  were 
come  out,  they  went  into  the  herd  of  swine." 

42.  fawning  publican.  The  thought  in  Shakespeare's  mind  here 
is  evidently  the  contrast  in  Luke,  xviii.  10-14,  between  the  publican 
and  the  pharisee,  Shylock  showing  the  contempt  of  the  latter  for 
the  publican's  attitude  of  humility. 

46.  usance,  interest.     "It    is   almost  incredible  what  gain   the 
Venetians  receive  by  the  usury  of  the  Jews,  both  privately  and  in 
common.     For  in  every  city  the  Jews  keep  open  shops  of  usury, 
taking  gages  of  ordinary  for  fifteen  in   the  hundred  by  the  year 
{i.e.  charging  interest  at  the  rate  of  fifteen  per  cent]."     Thomas's 
History 'e  of  Italy e,  1561.     See  also   Bacon's  Essay  on  Usurie,  in 
which  such  popular  sayings  as  "  the  usurer  is  a  drone,"  that "  it  is 
against  nature  for  money  to    beget   money,"   and  that   "usurers 
should  have  orange-tawny  bonnets  because  they  do  judaize,"  are 
quoted  with  the  sensible  comment :  "  For  since  there  must  be  bor- 
rowing and  lending,  and  men  are  so  hard  of  heart  as  [that]  they 
will  not  lend  freely  [without  interest],  usury  must  be  permitted." 

47.  catch  .  .  .  upon  the  hip,  a  wrestlers'  phrase  for  "  to  have  at 
a  disadvantage."     See  below,  iv.  I.  334. 

52.  interest,  a  word  conveying  insult,  like  others  concerning  the 
trade  of  money-lending. 


1 50  Notes  [Act  I 

60.  Rest  you  fair,  good  signior.  Shylock,  turning  from  his  words 
addressed  to  Bassanio,  affects  surprise  and  addresses  Antonio  obse- 
quiously but  with  a  tone  of  irony  in  his  voice. 

63.   excess,  the  amount  above  the  actual  sum  loaned,  the  interest. 

72.    When  Jacob,  etc.     See  Genesis,  xxx. 

74.   As  [For  so]  his  wise  mother.     See  Genesis,  xxvii. 

79.   were  compromised,  had  come  to  a  mutual  agreement. 

95.    inserted,  i.e.  in  the  Scriptures. 

97.  /  make  it  [i.e.  money]  breed.  Compare  the  words  quoted 
from  Bacon  above  line  46. 

98-103.  Mark  you  this,  etc.  Antonio  speaks  aside  to  Bassanio 
while  Shylock  pretends  to  be  considering  their  proposition. 

99.  The  devil  can  cite  Scripture.  See  Matthew,  iv.  4,  6,  where 
Psalm,  xci.  is  so  quoted. 

1 08.  Rialto.     See  above,  i.  3,  20. 

109.  my  moneys  and  my  usances,  my  practice  of  lending  money 
at  interest. 

112.  call  [are  in  the  habit  of  calling]  me  .  .  .  dog. 

113.  Jewish  gaberdine.     It  does  not  appear  that  the  gaberdine 
was  distinctively  a  mark  of  Jewish  costume.     It  means  here  doubt- 
less no  more  than  Shylock's  outer  garment  or  cloak. 

131.  In  a  ruder  age  such  acts  as  these,  self-confessed  by  Antonio, 
would  be  regarded  as  natural  if  not  meritorious  as  against  a  despised 
and  hated  race.  None  the  less  in  these  two  lines  Shakespeare  has 
contrived  at  once  to  give  the  reason  for  Shylock's  later  implacability 
and  to  stir  in  every  kindly  heart  a  certain  amount  of  sympathy  for 
the  Jew's  outrageous  wrongs. 

135.  A  breed  of  barren  metal,  i.e.  interest  derived  from  money,  a 
thing  which,  according  to  Antonio's  ideas,  should  not  be  made  to 
breed.  The  phrase  alludes  to  Shylock's  illustration  of  usury  from 
the  Bible,  and  is  an  additional  insult  to  the  Jew.  Notice  that  the 
notion  of  lending  "  to  thine  enemy "  is  first  put  into  words  by 
Antonio. 

137.    Who,  if  he  break.    The  use  of  the  relative  with  no  verb  to 


Scene  III]  Notes  151 

follow  as  here  was  not  infrequent.  See  Bacon,  Advancement  of 
Learning:  "  Which  though  it  be  not  true,  yet  I  forbear  to  note  any 
deficiencies." 

1 38.  Why,  look  you,  etc.  Shylock  controls  himself  lest  he  lose 
the  loan,  and  with  it  the  opportunity  of  revenge. 

141.  doit,  a  trifling  coin  worth  about  half  a  farthing,  or  the  fourth 
of  an  American  cent. 

146.  single  bond,  literally  a  bond  to  which  no  condition  is  at- 
tached. "  Give  me  your  bond  without  any  condition,  —  at  least, 
none  worthy  of  the  name  or  to  be  legally  enforced,  —  though  for  the 
joke  of  the  thing  we  will  say  that  I  am  to  have  a  pound  of  your 
flesh  if  you  fail  to  pay  up  at  the  appointed  time'1  (Rolfe). 

153.   r II  seal.     Addressed  to  Bassanio. 

162.  dealings  teaches.  It  is  not  uncommon  to  find  thus  appar- 
ently the  singular  verb  used  with  a  plural  subject.  The  form  of 
the  verb  in  many  of  these  cases  is  really  an  old  northern  plural 
in  es. 

162.  teaches  tJiem  [to]  suspect.  The  omission  of  to  before  the  in- 
finitive is  very  common.  See  below,  ii.  7.  43 :  "  To  come  view  fair 
Portia." 

164.   break  his  day,  fail  to  pay  on  the  appointed  day. 

1 68.  muttons,  beefs.  Both  of  these  plurals  are  elsewhere  used  by 
Shakespeare. 

171.  for  my  love,  in  consideration  of  the  kindness  I  now  show 
you,  do  not  impute  any  wrong  motives  to  me. 

1 76.  fearful  guard,  a  guard  about  whose  trustworthiness  fear  is 
to  be  entertained. 

ACT  II.    SCENE  I. 

The  old  stage  direction  reads :  "  Enter  Morochus  a  tawnie  Moore 
all  in  white,  and  three  or  foure  followers  accordingly,  with  Portia, 
Nerrissa,  and  their  traine.  Flo[urish  of]  Cornets."  Tawnie  was  a 
yellowish  dark  color.  All  in  white  alludes  to  the  appropriate  cos- 


152  Notes  [Act  ii 

tume  of  the  Moor.  The  Prince  of  Morocco  enters  to  the  sound 
{flourish)  of  martial  music.  This  scene  represents  only  the  prelim- 
inary meeting  of  Portia  and  the  Prince;  his  choice  is  deferred  to 
Scene  VII  of  this  act. 

7.  reddest,  the  superlative  was  often  used  as  a  comparative.    Com- 
pare /  Henry  VI,  ii.  4.  14 :    "  Between  two  horses  which  doth  bear 
him  best."     Red  blood  was  considered  a  proof  of  courage. 

8.  aspect.     Stress  on  the  last  syllable,  like  many  other  Eliza- 
bethan words,  now  pronounced  with  the  accent  on  the  first. 

13.   In  terms  of  choice,  in  the  matter  of  choosing  [a  husband]. 

19.  His  wife  who  wins.     The  possessive   formerly,  having  the 
greater  powers  of  a  genitive  case,  could  be  used  as  the  antecedent 
of  a  relative,  as  here. 

20,  21.    as  fair  As  any.     This  absolutely  truthful  statement  of  Por- 
tia (who  means  that  the  Prince,  were  she  free  to  choose,  stands  as  fair 
a  chance  of  winning  her  as  any  of  the  suitors  whom  she  has  already 
refused)  conveys  a  very  different  meaning  to  his  majesty  of  Morocco; 
who,  taking  it  to  himself — as  it  was  intended  that  he  should  — 
thanks  Portia  for  her  civility.     Notice  the  play  on  the  word  fair, 
which  means  on  equal  terms  with  the  rest,  but  also  refers  to  the 
Prince's  color,  which  Portia  assures  him  is  not  to  bar  him  from  an 
equal  chance  with  other  fairer  suitors. 

25.  Sophy,  commonly  used  to  denote  the  ruler  of  Persia,  though 
originally  meaning  only  a  wise  man. 

26.  Solyman  was  the  greatest  Sultan  of  Shakespeare's  century. 
A  romantic  drama  like  this  does  not  demand  historical  accuracy  in 
its  references.     But  this  allusion  is  doubtless  to  Solyman 's  disas- 
trous campaign  against  the  Persians  in  1535. 

31.  alas  the  while!  literally,  "Alas  for  the  present  condition  of 
things !  "     Here  equal  to  alas  ! 

32.  Hercules  and  Lichas.     Lichas  was  the  servant  and  hence  the 
page  (line  35  below)   of  Hercules,  who,  unknowing,  brought  that 
hero  the  garment  poisoned  with  the  blood  of  the  Centaur,  Nessus, 
by  the  wearing  of  which  Hercules  lost  his  life. 


Scene  II]  Notes  153 

35.  Alcides.  Hercules  was  so  called  from  his  stepfather's  father, 
Alcaeus. 

43.  Nor  will  not.     A  double  negative  in  a  negative  sense,  mean- 
ing, Nor  will  I  speak  to  lady  afterward,  etc.     See  above,  i.  2.  28 : 
"  Nor  refuse  none." 

44.  to  the  temple,  the  place  in  which  the  Prince's  choice  of  the 
caskets  was  to  be  made;    perhaps  no  more  than    a   temple-like 
structure  in  which  the  caskets  were  placed. 

46.  blest  or  cursed 'j/,  most  blessed  or  most  cursed.  It  is  no  un- 
common idicrri  of  Elizabethan  writers  tlms  •'  to  attach  terminations 
to  one  adjective  which  affect  others."  Compare  Measure  for  Meas- 
ure, iv.  6.  13:  "The  generous  and  gravest  citizens." 

ACT  II.    SCENE  II 

The  old  stage  direction  reads :  "  Enter  the  Clowne  alone."  This 
term,  like  the  term  fool,  was  carelessly  employed  in  Shakespeare's 
time.  Launcelot  is  neither  a  fool  nor  a  clown  within  the  strict 
meaning  of  either  word.  The  student  is  advised  not  to  try  too 
narrowly  to  make  sober  sense  out  of  Shakespeare's  inimitable  non- 
sense. Logic  is  not  Launcelot's  forte;  and  as  to  some  of  his 
phrases,  we  may  well  echo  Dr.  Furness's  warning  in  the  words  of 
Bottom :  "  Man  is  but  an  ass  if  he  go  about  to  expound  this."  In  this 
scene  Launcelot  changes  his  service  from  Shylock  to  Bassanio,  and 
Gratiano  is  granted  his  suit  to  accompany  Bassanio  to  Belmont. 

9.  scorn  running  with  thy  heels.  To  scorn  a  thing  with  the 
heels,  to  kick  at  it,  was  a  proverbial  saying.  Compare  Much  Ado 
About  Nothing,  iii.  4.  51 :  "I  scorn  that  with  my  heels." 

11.  Via!     Italian  for  away ;  and  very  commonly  employed. 

12.  for  the  heavens,  for  heaven's  sake. 

17.  did  something  smack  [of  the  knave].  .  .  grow  to,  has 
been  explained  as  "  a  household  phrase  applied  to  milk  when 
burnt  to  the  bottom  of  the  saucepan,  and  thence  acquiring  an 
unpleasant  taste," 


154  Notes  [Act  ii 

25.  God  bless  [or  save]  the  mark,  is  used  as  a  parenthetical  ex- 
cuse for  the  use  of  a  profane  or  disrespectful  word.  Launcelot  is 
here  waggishly  apologizing  for  using  the  word  devil.  Compare  the 
clause,  "  Saving  your  reverence,"  below,  line  27,  used  in  precisely 
the  same  manner. 

29.  incarnal,  Launcelot  means  incarnate.  The  "  nice  derange- 
ment of  epitaphs,"  as  Mrs.  Malaprop  afterwards  called  this  use  of 
a  word  of  similar  sound  but  of  different  sense  for  ludicrous  effect, 
is  very  common  in  the  old  drama. 

37.  sand-blind,  purblind,  half-blind.  Compare  stone-blind,  wholly 
blind;  high-gravel-blind 'is  of  course  Launcelot's  jest. 

39.  confusions,  Launcelot's  word  for  conclusions;  but  Laun- 
celot's conclusions  are  confusions,  as  the  rest  of  this  interview  dis- 
closes. 

44.  marry,  originally  Mary,  a  remnant  like  by'r  Lady  (by  our 
Lady),  God's  sonties  below,  and  dear  me  (Deus  meus}  of  a  ruder 
age  in  which  everyday  conversation  was  interlarded  with  oaths. 
These  terms  had  by  Shakespeare's  day  ceased  to  have  more  force 
than  mere  exclamatory  phrases  or  expletives. 

47.  sonties.  Variously  derived  from  sanctities  or  from  saints, 
saunties,  little  saints.  Compare  by'r  Lakin,  "  by  our  Ladikin." 

55.   well  to  live,  with  every  prospect  of  living  long. 

58.  Your    worship's  friend   and   Launcelot,   sir.      Launcelot 
whimsically  endeavours  to  get  his  father  to  speak  of  him  as  Master 
Launcelot,  which  his  father  is  unwilling  to  do  out  of  respect  for  his 
"  worship,"  whom  he  thinks  he  is  addressing. 

59.  But  I  pray  you,  ergo,  old  man.      Launcelot  is  not  without 
some  sense  of  the  meaning  of  the  learned  word  which  he  uses.     / 
pray  you,  ergo  [for  that  reason,  because  he  is  my  worship's  friend, 
call  him]  Master  Launcelot.     But  enough :  Launcelot  is  trying  his 
"  confusions  "  on  us  as  well  as  on  his  father. 

64.  father,  a  general  term  used  in  addressing  old  men.  Gobbo 
does  not  as  yet  recognize  his  mischievous  son. 

82.  give  me  your  blessing.     Here,  according  to   an  old  stage 


Scene  II]  Notes  155 

tradition,  Launcelot  kneels  with  his  back  to  his  father,  who,  grop- 
ing about,  touches  his  son's  long  hair,  and  mistaking  it  for  a  beard, 
of  which  Launcelot  has  no  sign,  says,  "  Pray  you,  sir,  stand  up : 
I  am  sure  you  are  not  Launcelot,  my  boy."  See  below  lines  86-91. 

no.  set  up  my  rest,  a  phrase  taken  from  the  fashionable  game 
of  primero,  signifying,  to  stand  by  the  cards  one  has  in  one's  hand; 
and  hence  to  determine,  make  up  one's  mind. 

115.  give  me  [i.e.  for  my  benefit]  your  present.  The  old  dative 
of  the  personal  pronoun  is  often  used  where  we  should  use  for 
me  or  to  me\  sometimes  where  the  word  would  seem  unneces- 
sary to  the  modern  reader.  Compare  the  phrase,  "  Do  me  a 
favour." 

115.  your  present.  Old  Gobbo  is  the  bearer  of  a  gift  from  the 
country  to  Shylock,  Launcelot's  master.  This  gift  Launcelot  diverts 
to  Bassanio,  with  whom  he  desires  to  take  service. 

119.  I  am  a  Jew.  An  asseveration  used  elsewhere.  Compare 
Much  Ado  About  Nothing,  ii.  3.  272 :  "  If  I  do  not  love  her,  I  am 
a  Jew." 

121.  The  old  editions  read,  "  Enter  Bassanio  with  a  follower  or 
two." 

123.  put  the  liveries  to  making,  have  the  liveries  made.  The 
old  termination  en  was  often  confused  with  ing  in  Elizabethan 
English. 

128.    Cramer cy  !     French  grand  merci,  much  thanks. 

139.  cater-cousins,  a  word  of  doubtful  derivation  and  original 
meaning,  applied  to  persons  on  intimate  terms  with  each  other, 
and  used  occasionally  as  if  synonymous  with  cousins-germain.  It 
has  been  thought  that  the  word  is  connected  with  cate  or  cake,  and 
caterer  ;  and  means  mess-fellows. 

j$8.  The  old  proverb.  Launcelot  alludes  to  the  saying,  "The 
grace  of  God  is  gear  [wealth]  enough." 

1 66.  Well,  if  any  man,  etc.  Table  is  the  palm  of  the  hand  in 
chiromancy  or  palmistry.  Take  the  relative  which  as  referring  to 
table  and  in  the  causal  relation  equivalent  to  for  it  doth.  The 


1 56 


Notes  [Act  ii 


meaning  of  the  passage  then  is :  There  is  no  hand  in  Italy  offering 
fairer  signs  of  palmistry  than  mine,  for  it  doth  offer  to  swear  upon 
a  book  that  I  shall  have  good  fortune. 

169.  Go  to,  equivalent  to  our  Come,  come.  To  is  here  an  ad- 
verb. Compare  its  use  to  "  to  and  fro,"  and  the  nautical  expres- 
sions, "  heave  to,  come  to." 

169.  a  simple  line  of  life,  literally  a  mean,  poor  line  of  life.  But 
Launcelot  is  speaking  ironically  in  reference  to  his  good  fortune. 
The  line  of  life  is  the  circular  line  surrounding  the  thumb.  The 
table  line  or  line  of  fortune  runs  from  the  forefinger,  below  the 
other  three  fingers,  to  the  side  of  the  hand.  Launcelot  pretends 
to  be  reading  his  own  fortune  by  palmistry,  and  discovers  that  he 
is  to  be  married  fifteen  times,  and  other  like  matters. 

178.  Notice  how  the  play  falls  again  into  blank  verse  with  the 
departure  of  the  low  comedy  of  Launcelot  from  the  scene. 

196.  skipping  spirit.  We  should  say  vivacious  or  frivolous 
temper.  Compare  /  Henry  IV,  iii.  2.  60 :  "The  skipping  king, 
he  ambled  up  and  down."  Spirit  is  pronounced  as  one  syllable. 
See  below,  v.  I.  86. 

202,  203.  hood  mine  eyes  Thus  with  my  hat.  Hats  were  com- 
monly worn  by  all  persons  of  station  at  dinner.  To  take  off  the 
hat,  except  for  courtesy  in  company,  was  an  acknowledgment  of 
inferiority. 

205.  ostent,  appearance.  Compare  below,  ii.  8.  44 :  "Fair  ostents 
of  love." 

ACT  II.     SCENE  III 

2.  Our  house  is  hell.  Jessica  is  distraught  between  her  love  for 
Lorenzo  and  her  religion  and  duty  to  her  father,  hence  the  extrava- 
gance of  her  words. 

5.   soon  at  supper.     Compare  Richard  III,  iv.  3.  31. 
10.   tears  exhibit  my  tongue,  tears  show  what  my  tongue  would 
express  but  for  them. 

1 6.  what  heinous  sin,  i.e.  sinfulness. 


Scene  V]  Notes  1 57 

19.  Lorenzo.  The  story  of  Jessica's  elopement  is  apparently  of 
Shakespeare's  own  invention.  Its  purpose  is  plainly  to  offer  strong 
additional  reasons,  —  the  stealing  of  his  daughter  and  his  ducats 
by  another  Christian,  —  for  Shylock's  implacability  as  to  Antonio 
and  his  bond. 

ACT  II.    SCENE  IV 

Gratiano  is  arranging  with  his  friends  to  entertain  Bassanio 
with  a  mask  to  celebrate  his  departure  for  Belmont.  See  a  simi- 
lar entertainment  in  Henry  VIII,  i.  4.  Masquerading  was  com- 
mon in  the  England  as  in  the  Venice  of  Shakespeare's  day. 

i.  in,  during,  at.  Compare  below,  v.  I.  I :  "In  such  a  night 
as  this." 

5.  spoke  us  ygt  of  torch-bearers,  bespoken,  or  made  arrange- 
ments for  torch-bearers. 

10.  break  up,  break  open,  of  a  sealed  letter.  Compare  The 
Winter's  Tale,  iii.  2.  132:  "Break  up  the  seals  and  read." 

24.  provided  of  a  torch-bearer,  with  a  torch-bearer.  Of  is  used 
in  Elizabethan  English  not  only  of  the  agent,  but  of  the  instru- 
ment. Compare  below,  v.  i.  296:  "You  are  not  satisfied  Of  these 
events." 

ACT  II.    SCENE  V 

This  scene  gives  us  briefly  the  relation  of  Shylock  and  Jessica; 
his  faith  in  her,  shown  in  his  entrusting  to  her  his  keys;  but  his 
mistrust  of  her  levity  in  his  injunction  concerning  the  maskers, 
and  his  premonition  of  coming  evil.  The  scene  also  completes, 
by  means  of  Launcelot's  hint  concerning  the  mask,  Jessica's  plan 
to  run  away  with  Lorenzo. 

3.  What,  Jessica  !  What,  like  why  and  when,  was  used  as  an 
exclamation  of  impatience.  Compare  below,  v.  I.  151:  "What 
talk  you  of  the  posy." 

3.  gormandize,  the  thrifty  Shylock   and  the  indolent,  careless 


158  Notes  [Actn 

Launcelot  would  have  very  different  ideas  on  this  subject.  See 
above,  ii.  2.  113,  Launcelot's  complaint  that  he  was  famished. 

14.  to  feed  upon  7^he  prodigal  Christian.  This  change  in  Shy- 
lock's  earlier  determination  not  to  eat  with  a  Christian  is  due  to 
his  purpose  of  revenge. 

1 8.   money-bags.     Dreams  go  by  contraries. 

1 8.  to-night ',  here  last  night,  although  sometimes  used  in  the 
modern  sense,  as  below,  line  37  of  this  scene. 

21.  So  do  I  his  [reproach],  Shylock  takes  Launcelot's  word 
reproach,  intended  for  approach,  in  its  actual  sense. 

25.  a-bleeding.  Bleeding  at  the  nose  was  formerly  regarded  as 
an  indication  of  coming  misfortune. 

25.  Black- Monday.  Easter  Monday,  so  called  because  of  a 
violent  winter  storm,  April  14,  1360,  in  which  many  of  the  soldiers 
of  King  Edward  III,  then  besieging  Paris,  perishai  of  cold. 

30.  wry-neck? d  fife,  variously  explained  as  a  fife  with  a  wry  or 
crooked  neck,  or  as  applying  to  the  fife  player,  "  a  wry-necked 
musician,  for  he  always  looks  away  from  his  instrument." 

33.  varnish? d  faces.  In  allusion  to  the  varnished  and  painted 
masks  worn  by  masqueraders. 

36.  Jacob's  staff.     Though  popularly  used  of  a  pilgrim's  staff  in 
general,  the   word   here   has  reference  to   Genesis,  xxxii.  10  and 
Hebrews,  xi.  21. 

37.  no  mind  of  feasting  forth,  no  inclination  to  feast  from  home. 
See  below,  iv.  I.  402 :  "  I  humbly  do  desire  your  grace  of  pardon." 
Observe  the  use  of  forth  as  an  adverb;   and  compare   The  Merry 

Wives  of  Windsor,  ii.  2.  276:   "  Her  husband  will  be  forth" 
44.   Hagar's  offspring,  i.e.  son  of  a  bondswoman.     Genesis,  xvi. 
46.  patch,  used  as  a  nickname  for  a  jester,  is  probably  derived 
from  the  motley  or  patched  coat  of  the  professional  fool.     Notice 
the  touch  of  kindliness  in  Shylock's  allusion  to  Launcelot,  and  that 
at  the  very  moment  when  Jessica  is  deceiving  him  with  a  deliberate 
lie. 

48.   the  wild-cat,  which  prowls  by  night  and  sleeps  all  day. 


Scene  VI]  Notes  159 

52.  Perhaps  I  will,  in  modern  English  shall,  ohylock  did  not 
feel  perfect  confidence  in  Jessica. 

56.  Note  the  rhyming  couplet  which  marks  the  conclusion  of  a 
scene,  although  here  the  stage  setting  remains  the  same,  and  the 
action  proceeds  at  once  to  Jessica's  elopement. 


ACT  II.     SCENE  VI 

1.  pent-house,  a  shed  hanging  out  aslope  of  the  main  building. 

2.  This  line,  like  many  others,  especially  in   the   earlier  work 
of  Shakespeare,  is  too  long,  according  to  the  metrical  scheme  of 
English  blank  verse.     As  a  matter  of  fact,  Shakespeare  frequently 
employs,  in  the  midst  of  the  usual  lines  of  five  accents,  lines  which 
contain  six,  and  which  are  known  as  Alexandrines.     This  is  more 
often  to  be  met  where  the  dialogue  is  broken  (that  is,  where  the  line 
is  divided  between  two  speakers)   than  elsewhere.     In  such  cases 
we  had  better  follow  the  advice  of  Dr.  Furness,  and  "  forego  the 
pleasure  of  adjusting  the  rhythm  of  fragments  of  lines.     As  long 
as  each  fragment  is  in  itself  rhythmical,  I  doubt,"  continues  the 
editor  of  the    Variorum   Shakespeare,   "if  Shakespeare  troubled 
himself  to  piece  them  together." 

5.  Venus'  pigeons,  doves  were  sacred  to  Venus,  the  goddess  of 
beauty.  See  Tempest,  iv.  I.  92: 

"  I  met  her  deity 

Cutting  the  clouds  towards  Paphos,  and  her  son 
Dove-drawn  with  her." 

7.  obliged,  pronounced  as  three  syllables.  The  termination  ed 
was  commonly  pronounced  in  Shakespeare's  day,  although  some- 
times contracted.  See  below,  in  this  scene,  chased,  line  13; 
scarfed,  line  15;  and  placed,  line  57. 

9.  sits  down  [with]. 

10.  untread  again,  retrace,  repeat   in  reverse  order  ;    said  to 
allude  to  a  horse  trained  to  perform  tricks,  as  in  a  circus. 


160  Notes  [Act  n 

17.   See  Luke,  xv.  11-32. 

24.  /'//  watch,  as  long,  etc.  This  line  contains  but  nine  syl- 
lables. But  the  pause  after  tken  takes  up  one  of  them,  and  the 
line  becomes  perfectly  metrical. 


^  ^ 

I'll  watch  as  long  for  you  then.      Approach. 

This  is  no  uncommon  device  where  there  is  a  change  in  the  thought, 
as  here.  Shakespeare,  be  it  repeated,  wrote  for  the  ear  and  not 
for  the  eye,  nor  yet  for  the  fingers.  Compare  -Measure  for 
Measure,  ii.  2.  115-117: 

"  Thou  rather  with  thy  sharp  and  sulphurous  bolt 
Split'st  the  unwedgeable  and  gnarled  oak 

Than  the  soft  myrtle  :    but  man,  proud  man,  etc." 

30.  who  love  /.  Who  for  whom,  as  frequently  in  Shakespeare. 
This  license  extended  to  all  the  personal  pronouns.  Compare 
below,  iii.  2.  321  :  "  All  debts  are  cleared  between  you  and  I." 

35.   exchange,  change  of  costume  to  that  of  a  boy. 

41-50.  What,  must  I,  etc.  Shames,  in  modern  English  shame. 
They  in  themselves  [/.<?.  my  shames]  are  only  too  manifest.  Why, 
[a  torch-bearer's]  office  [is  one]  of  discovery,  for  he  bears  a  light; 
I  should  be  thrown  into  the  dark.  There  is  a  play  in  this  passage 
on  both  the  words  light  and  obscure.  Jessica  is  far  more  concerned 
about  her  appearance  in  boy's  clothes  than  about  leaving  her  father 
and  robbing  him. 

42.  too  too,  the  reduplication  of  the  adverb  for  emphasis  is  very 
common.  Compare  Hamlet,  i.  2.  1  29  :  "  O,  that  this  too  too  solid 
flesh  would  melt." 

47.  play  the  runaway,  is  hurrying  away. 

51.  by  my  hood.  Gratiano  swears  appropriately  by  the  masquer- 
ader's  hood  with  which  he  is  disguised. 

51.  Gentile^  a  heathen,  with  a  play  on  the  word  gentle,  one 
well  born. 


Scene  VII]  Notes  l6l 

Much  difficulty  has  been  experienced  in  assigning  the  period  of 
time  during  which  the  action  of  the  play  is  supposed  to  take  place. 
And  this  difficulty  arises  from  the  circumstance  that  Shakespeare 
hurries  or  retards  the  apparent  lapse  of  time  to  suit  the  need  of  the 
given  moment,  and  thus  creates  a  double  scale  of  time.  Early  in 
the  play  we  are  told  that  the  bond  is  for  three  months  and  that 
period  is  infixed  in  our  minds.  Moreover  Bassanio  speaks  of  hav- 
ing his  servants'  liveries  "put  to  making,"  which  seems  to  imply  a 
leisurely  preparation.  On  the  other  hand,  his  ducats  once  "  pursed," 
from  other  indications  Bassanio  is  all  impatience  and  hurry.  Sup- 
per must  be  ready  at  latest  at  five,  letters  are  to  be  delivered,  pur- 
chases made  and  stowed  aboard,  servants  are  sent  to  and  fro  and 
bidden  "hie  thee,  away,"  and,  cutting  short  the  mask,  at  nine 
o'clock  he  will  instantly  aboard.  This  lover's  impatience  of  Bas- 
sanio has  beguiled  one  commentator  into  supposing  that  but  ten 
hours  elapse  between  the  opening  of  the  action  and  Bassanio's  set- 
ting forth  to  Belmont :  a  notion  obviously  false.  It  will  be  better 
for  us  to  note  Shakespeare's  art  in  effecting  the  illusion  of  a  lapse 
or  a  hurry  of  time  than  to  seek  for  that  mathematical  accuracy 
which  has  its  place,  though  not  in  a  work  of  the  imagination. 

ACT  II.     SCENE  VII 

In  this  scene  the  Prince  of  Morocco  proceeds  to  his  choice  of 
the  caskets  and  is  discomforted.  , 

4.  who  is  occasionally  used  referring  to  an  inanimate  object  as 
its  antecedent,  as  here.  Compare  Pericles,  i.  1 .  45 :  "A  mirror 
Who  tells  us  life's  but  breath." 

40.  mortal-breathing,  endowed  with  human  life.     Compare  mor- 
tal-living in  Richard  III,  iv.  4.  26. 

41.  Hyrcanian  deserts.      Hyrcania  was  a   desert  region   lying 
south  of  the  Caspian  sea. 

43.  come  [to]  view.  A  common  idiom.  See  Hamlet^  ii.  I.  IOI : 
"  I  will  go  seek  the  king." 

MERCH.   OF  VENICE — II 


1 62  Notes  [Act  ii 

50.  it  were  too  gross,  etc.  It  would  be  too  gross  a  thing  to  wrap 
the  burial  cloths  of  such  a  saint  in  an  obscure  grave,  i.e.  in  a  casket 
made  of  so  common  a  substance  as  lead. 

53.  undervalued,  inferior  in  value  to.  Compare  above,  i.  I*  165. 
At  the  date  of  this  play  the  proportionate  value  of  gold  to  silver  was 
as  about  ten  to  one. 

56.  an  angel,  was  a  gold  coin  worth  at  most  ten  shillings;   it  was 
so  called  from  the  figure  of  St.  Michael  slaying  the  dragon,  on  one 
side. 

57.  insculp"*  d  upon,  engraven  on  the  outside  of  the  coin.     Here, 
on  the  contrary,  an  angel  [the  picture  of  Portia]  lies  all  within  the 
golden  bed,  [its  casket]. 

59,  60.   key  .  .  .  may,  a  rhyme  in  Shakespeare's  day. 

63.  A  carrion  Death,  a  skull  or  death's  head  from  which  the 
flesh  had  rotted  away. 

73.  your  suit  is  cold.  A  proverbial  expression.  Compare  The 
Two  Gentlemen  of  Verona,  iv.  4.  1 86:  "I  hope  my  master's  suit 
will  be  but  cold." 

ACT  II.    SCENE  VIII 

Notice  that  in  this  scene  the  passionate  outburst  of  Shylock  on 
learning  of  Jessica's  unfilial  conduct  is  reported  by  the  unsympa- 
thetic gallants,  Salarino  and  Salanio,  and  not  represented  directly. 
Are  we  to  believe  Salanio's  intimation  that  Shylock  was  more 
grieved  at  the  loss  of  his  ducats  than  that  his  daughter  should 
have  married  a  hated  Christian  ?  And  would  a  direct  representa- 
tion of  Shylock  in  his  despair  have  drawn  too  deep  a  draft  on  our 
sympathies  for  the  Jew  ?  The  gallants  also  mention  the  rumours 
that  Antonio's  ventures  may  have  miscarried,  and  apprise  us  of  his 
loving,  hearty  leave-taking  of  Bassanio,  now  well  on  his  happy  way 
to  Belmont. 

12.  passion,  commotion,  passionate  outcry.  Compare  Troilus 
and  Cressida,  v.  2.  181 :  "  Your  passion  draws  ears  hither." 


Scene  IX]  Notes  163 

25.  keep  his  day,  be  punctual  to  his  day  of  payment.  Note  how 
the  unfilial  conduct  of  Jessica,  with  the  loss  of  his  money,  is  men- 
tioned here  as  hardening  the  Jew's  heart  against  Antonio.  Notice 
also  the  rumour  of  misfortune  to  Antonio's  ships  in  the  next  speech. 

27.   reason }d,  conversed  with.     See  above,  i.  2.  23. 

33.  You  were  best  to  tell.  No  uncommon  idiom  for  You  had  better 
or  best  tell.  Compare  /  Henry  VL  v.  3.  82 :  "I  were  best  to  leave 
him."  This  line  is  readily  scanned  by  regarding  You  were  best  as 
the  first  foot,  either  contracted  to  You're  best;  or,  better,  speedily 
uttered  as  in  ordinary  speech : 

You  were  best  to  tell  Antonio  what  you  hear. 

42.  mind  of  love,  your  loving  mind ;  also  explained,  "  Let  me 
entreat  you,  of  love  \_i.e.  by  our  mutual  love],  that  you  take  not 
the  least  thought  of  it." 

48.   affection  wondrous  sensible,  emotion  wonderfully  sensitive. 

52.  embraced  heaviness,  the  sadness  which  has  taken  hold  of 
him. 

ACT  II.    SCENE  IX 

This  scene  represents  the  discomfiture  of  another  suitor  of  Por- 
tia, the  solemn  and  deliberate  Prince  of  Arragon;  and  concludes 
with  the  heralded  arrival  of  Bassanio. 

1 8.  to  [the]  hazard.     Compare  Henry  V.  iii.  7.  93. 

19.  Fortune  now,  etc.,  may  good  fortune  now  attend  the  hope  of 
my  heart. 

25.  that  *  many '  may  be  meant  By,  etc.  By  was  used  commonly 
after  the  verb  to  mean,  where  we  should  use  for. 

51.  /  will  assume,  etc.  This  line  is  an  Alexandrine,  as  fre- 
quently where  the  sense  is  broken.  Arragon  pauses  after  desert ; 
and  turning  to  Portia  says,  "  Give  me  the  key  for  this  [the  silver 
casket]." 

53.  Portia  {Aside}.     This  reading,  which  is  approved  by  Dr. 
Furness,  seems  necessary  to  the  preservation  of  Portia's  kindliness 


164  Notes  [Act  in 

and  courtesy  of  spirit.  The  lips  that  uttered  the  beautiful  words  on 
"  the  quality  of  mercy "  could  never  have  taunted  a  losing  but 
honest  lover  to  his  face  in  the  moment  of  his  defeat.  The  asides 
were  by  no  means  always  marked  in  the  old  editions  of  plays. 

61.  distinct,  accented  on  the  first  syllable. 

69.  Silvered  o'er.  The  idiot's  picture  was  silvered  o'er,  being 
contained  in  a  silver  box. 

70-71.  Marry  whom  you  will,  you  will  always  have  me,  a  fool, 
for  your  head. 

74.   By  the  time,  in  proportion  to  the  time. 

79.  singed  the  moth,  evidently  rhyming  with  Arragon's  preced- 
ing couplet  and  in  mockery  of  it. 

85.  my  lord,  a  sportive  rejoinder  to  the  servant's  deep  bow  and 
tone  of  pompous  respect  in  addressing  Portia  as  "  my  lady."  It  is 
by  the  mockery  of  Portia's  rhyme  to  the  couplet  of  Arragon,  and  by 
this  merry  answer  to  her  servant  that  the  author  makes  clear  to  us 
how  delighted  Portia  is  to  have  escaped  another  suitor. 

89.  sensible  regreets,  evident  salutations.  The  strange  word  re- 
greet  is  used  elsewhere.  Compare  King  John,\\\.  I.  241:  "Un- 
yoke this  seizure  and  this  kind  regreet"  It  is  not  unlikely  that  the 
fine  language  of  the  servant  is  the  cause  of  Portia's  mockery. 

91.    Yet  I  have  not,  I  have  never  yet. 

98.  high-day  wit,  holiday  terms.  Compare  The  Merry  Wives 
of  Windsor,  iii.  2.  69 :  "  He  writes  verses,  he  speaks  holiday." 

ACT  III.     SCENE  I 

The  rumours  of  Antonio's  losses  grow  more  frequent  and  circum- 
stantial. Shylock  is  torn  apart  with  rage  at  Jessica's  reported 
extravagance  with  his  long-hoarded  wealth,  and  with  malignant 
joy  as  he  hears  of  Antonio's  misfortunes  and  impatiently  awaits 
the  forfeit  of  his  bond. 

2.  it  lives  there  unchecked,  the  rumour  is  current  there  uncon- 
tradicted. 


Scene  I]  Notes  165 

4.  the  narrow  seas  [or  sea],  a  usual  term  for  the  English  Chan- 
nel. The  Goodwins,  I  think  they  call  the  place.  Goodwin  Sands, 
off  the  coast  of  Kent.  Notice  how  Salarino's  doubt  as  to  the  pre- 
cise name  of  the  place  in  which  Antonio's  ships  have  come  to  grief 
upholds  the,  illusion  that  we  are  in  Venice,  a  place  remote  from 
England. 

30.  the  wings  she  Jlew  withal,  the  boy's  clothing  in  which  she 
eloped  with  Lorenzo. 

57.   hindered  me  [from  gaining]  half  a  million  [of  ducats], 

62.  affections,  emotions  caused  by  external  objects,  as  contrasted 
with  passions,  feelings  due  to  emotions  within. 

63.  [Is  he  not]  fed  with,  etc.     Observe  how  the  pathos  of  the 
Jew's  despised  life  strengthens  Shy  lock's  hold  on  our  sympathies  at 
the  very  moment  when  the  sense  of  Antonio's  disaster  is  growing 
upon  us. 

83.  what  news  from  Genoa  ?  This  question  suggests  the  lapse 
of  some  time  since  the  elopement  of  Jessica,  precisely  as  the  vehe- 
mence of  Shylock's  words  to  Salanio  and  Salarino  at  the  beginning 
of  the  scene  produces  the  opposite  effect  of  an  apparently  brief 
period  since  that  event. 

89.  Frankfort  on  the  Main,  famous  throughout  the  Middle  Ages 
for  its  commercial  fairs. 

105.  from  Tripolis.     This  argosy  is  mentioned  above,  i.  3.  18. 

112.  here?  in  Genoa?  i.e.  known  here  [in  Italy]  ?  in  Genoa? 
The  emendation  where  for  here  seems  unnecessary. 

126.  my  turquoise.  The  turquoise  was  often  given  as  a  pledge 
of  love,  because  it  was  supposed  to  maintain  or  change  its  brilliancy 
of  colour  in  accordance  with  the  faithfulness  or  infidelity  of  the 
wearer,  besides  possessing  other  miraculous  qualities.  This  touch 
of  human  affection  in  Shylock  at  the  moment  when  he  is  raving 
over  the  extravagance  and  ingratitude  of  Jessica  can  never  be 
overpraised. 

131.  fee  me  an  officer,  engage  an  officer  for  me  [to  arrest  An« 
tonio  the  moment  his  bond  is  forfeited]. 


1 66  Notes  [Act  m 

135.  "Shakespeare,"  says  one  critic,  "  probably  intended  to  add 
another  shade  of  darkness  to  the  character  of  Shylock,  by  making 
him  still  formally  devout  while  meditating  his  horrible  vengeance." 
Another  remarks  on  this  passage  :  "  The  Jew  invokes  the  Ancient 
of  Days,  who  spoke  unto  Moses  aforetime  :  '  If  a  man  cause  a 
blemish  in  his  neighbour;  as  he  hath  done,  so  shall  it  be  done  to 
him;  breach  for  breach,  eye  for  eye,  tooth  for  tooth;  as  he  hath 
caused  a  blemish  in  a  man,  so  shall  it  be  done  to  him  again.'  In 
entering  his  synagogue  Shylock  entrusts  his  hatred  to  the  safeguard 
of  his  faith.  Henceforward  his  vengeance  assumes  a  consecrated 
character."  It  is  one  of  the  marvels  of  Shakespeare's  power  of 
characterization  that  we  differ  about  the  characters  of  his  per- 
sonages as  we  differ  about  the  characters  of  real  people  whom  we 
personally  know. 

ACT  III.     SCENE  II. 

Much  has  happened  since  the  departure  of  Bassanio.  At  Bel- 
mont  the  stately  Prince  of  Morocco  has  made  his  choice  and  failed, 
and  the  solemn  Arragon  has  followed  with  no  better  fate.  In  Ven- 
ice Shylock,  maddened  by  his  double  loss,  has  raged  through  the 
streets,  a  rabble  of  boys  at  his  heels,  and  Tubal  has  had  time  to 
search  for  the  runaways  as  far  as  Genoa  and  back.  Rumours,  too,  of 
Antonio's  losses  on  distant  seas  are  reported  at  Venice.  On  the 
other  hand,  although  Portia's  words,  —  those  of  a  maiden  more  than 
half  won,  —  preclude  our  thinking  of  Bassanio  as  exactly  "  fresh 
from  Venice  "  on  the  opening  of  this  scene,  such  impetuosity  as 
his,  for  he  "lives  upon  the  rack,"  we  feel  cannot  have  permitted  a 
long  postponement  of  his  choice,  and  we  are  lured  away  from  the 
thought  of  Tubal's  search  and  a  rumour  slowly  making  its  way 
across  the  continent  of  Europe  from  Goodwin  Sands  to  the  con- 
templation of  a  lapse  of  time  that  could  not  have  exceeded  a  few 
days.  Compare  with  this  the  concluding  note  on  Act  II,  Scene  VI. 

In  the  present  scene  Portia  desires  Bassanio  to  "  tarry  "  for  fear 


Scene  II]  Notes  167 

he  choose  wrong  ;  but  Bassanio  is  impatient  to  know  his  fate,  and 
choosing  the  leaden  casket  finds  therein  "  fair  Portia's  counterfeit." 
Portia  is  thus  doubly  won,  by  the  terms  of  her  father's  will  and  by 
the  promptings  of  her  own  heart.  Meanwhile  Gratiano  has  gained 
Nerissa  to  consent  to  marry  him  if  Bassanio's  choice  shall  prove 
fortunate.  So  that  both  couples  are  happy  in  Bassanio's  success. 
At  this  moment,  the  climax  of  the  story  of  the  caskets,  Lorenzo 
and  Jessica  arrive  with  a  messenger  from  Venice  by  whom  it  ap- 
pears that  all  of  Antonio's  ventures  by  sea  have  failed,  his  bond  has 
been  forfeited,  and  he  lies  in  prison  awaiting  the  supreme  exaction 
of  the  Jew. 

2.    in  [the  event  of  your]  choosing  wrong. 

7-10.  Portia  is  anxious  that  Bassanio  may  not  choose  hastily. 
She  is  deeply  in  love  with  him,  but  "yet  a  maiden  hath  no  tongue 
but  thoughts  "  [/.<?.  it  becomes  her  not  to  tell  him  so]  ;  and  she 
wishes  simply  to  detain  him,  at  first  a  day  or  two,  which  rises  in  her 
eagerness  to  a  month  or  two.  But  she  is  equally  concerned  lest 
Bassanio  mistake  her  attitude  for  an  unmaidenly  declaration  of  love. 

14.   Beshrew,  a  very  mild  imprecation,  "  Woe  to  your  eyes." 

1 6.  Scan,  One  half  of  me  is  yours,  the  other  half  yours, 
making  the  line  contain,  as  frequently,  eleven  syllables.  The  scan- 
sion which  contracts  the  other  into  £  other  destroys  the  emphasis. 

20,  21.  These  lines,  which  offer  an  excellent  illustration  of 
the  extreme  pregnancy  of  Shakespeare's  thought,  have  been  ex- 
plained :  "  If  it  prove  that  I,  who  am  yours  by  affection,  am  not 
yours  owing  to  your  unlucky  choice  of  casket,  Fortune  ought  to 
suffer  the  penalty,  not  I;  and  yet  to  lose  you  will  be  hell  for  me." 

29.  fear  [for]  the  enjoying,  doubt  if  I  shall  enjoy. 

30,  31.     There  may  .   .   as  [between]  treason  and  my  love. 

35.   '  Confess '  and  *  love?  love  is  the  sum  total  of  my  confession. 

44.  swan-like  end,  in  allusion  to  the  popular  belief  that  the  swan 
sings  before  its  death.  Shakespeare  is  fond  of  the  allusion;  see 
Othello,  v.  2.  247;  and  King  John,  v.  7.  21. 

49.  The  moment  of  crowning  an  English  sovereign  is  heralded 


i68  Notes  [Act  m 

by  a  flourish  of  trumpets.  Some  critics  have  sought  to  date  this 
play,  1594,  because  of  this,  a  supposed  allusion  to  the  crowning  of 
Henry  of  Navarre  in  that  year. 

52.  The  bridegroom  was  thus  awakened  by  the  musicians  en- 
gaged to  accompany  him  to  the  bride's  house. 

55.  young  Alcides.  Hercules  rescued  Hesione  who,  as  a  virgin 
tribute  to  appease  the  wrath  of  Neptune,  had  been  chained  to  a 
rock  by  her  father,  Laomedon,  to  be  devoured  by  a  sea-monster. 
But  Bassanio  approaches  his  perilous  undertaking  with  much  more 
love  [line  54],  because  Hercules  was  urged  to  his  exploit  not  for 
love  of  the  lady,  but  for  the  horses  which  Laomedon  had  promised 
him.  The  whole  similitude  in  which  Bassanio  is  likened  to  young 
Alcides,  Portia  to  Hesione,  the  virgin  tribute,  and  Portia's  attend- 
ants to  the  Dardanian  wives  [women,  the  descendants  of  Dar- 
danus,  the  ancestor  of  the  Trojans],  is  full  of  the  spirit  of  Greek 
story. 

61.  Live  thou  [if  thou  live],  /  live.  The  subjunctive  is  not 
infrequently  indicated  by  placing  the  verb  before  its  subject. 
The  line  is  perfectly  metrical  without  doubling  the  word  much. 


Live  thou,  I  live     ^With  much  more  dismay 

63.  fancy  is  often  synonymous  with  love.  See  Much  Ado  About 
Nothing,  iii.  2.  31-32.  Here,  however,  fancy  is  affection  bred  by 
the  sight;  and  neither  the  product  of  the  heart  nor  the  head.  Did 
Portia  unconsciously  break  her  oath  in  providing  that  this  song  be 
sung  ?  Or  did  Nerissa  ?  She  had  openly  praised  Bassanio  (i.  2. 
129-131).  The  maid  in  one  of  Shakespeare's  possible  sources, 
//  Pecarone,  gave  the  lover  a  hint. 

73.  the  outivard  shows  [of  things]  be  least  [like  the  things]  them- 
selves. 

82.  his,  the  old  neuter  of  the  possessive  pronoun  if  or  hit.  Its 
is  found  only  toward  the  end  of  the  sixteenth  century.  Us  appears 
in  no  work  of  Shakespeare's  published  in  his  lifetime,  although  the 
form  occurs  ten  times  in  the  folio,  usually  in  the  spelling  it's. 


Scene  II]  Notes  169 

86.  livers  white  as  milk.     Compare  2  Henry  IV.  iv.  3.  113: 
"  The  liver  white  and  pale,  which  is  the  badge  of  pusillanimity  and 
cowardice." 

87.  excrement,  a  word  often  applied  to  the  hair.     See  The  Win- 
ter's Tale,  iv.  4.  733 :     "  Let  me  pocket  up  my  pedlar's  excrement. 
[  Takes  off  his  false  beard.}  " 

88.  beauty,  that  is,  mere  beauty.    Notice  the  usual  Shakespearian 
play  on  the  words  weight  and  light. 

92-96.  those  crisped  snaky  golden  locks  .  .  bred  .  .  in 
the  sepulchre.  Shakespeare  expresses  much  the  same  thought  in 
Sonnet  Lxviii.  The  fashion  among  women  of  wearing  wigs  had 
become  very  common  toward  the  end  of  Elizabeth's  reign. 

94.  Upon  supposed  fairness,  "  on  the  strength  of  their  fictitious 
beauty."  Compare  j  Henry  VI,  iii.  3.  223 :  "  And  tell  false  Ed- 
ward, thy  supposed  king." 

99.  an  Indian  beauty,  a  woman  that  an  Indian  might  consider  a 
beauty;  as  we  might  say,  a  Hottentot  beauty.  If  the  word  beauty 
has  been  borrowed  from  the  word  beauteous,  just  above,  as  some 
have  supposed,  the  student  must  choose  for  himself  which  of  the 
twenty  or  more  guesses  —  among  them  idol,  blackness,  suttie, 
poisoner,  bosom,  gipsy,  feature,  and  beldame  —  he  prefers. 

102.  Midas,  the  foolish  Phrygian  king,  who  asked  that  every- 
thing that  he  touched  might  be  turned  to  gold;  and,  his  wish 
granted,  nearly  perished  of  hunger. 

106.  paleness,  as  Bassanio  has  already  called  silver  pale,  plain- 
ness has  been  suggested  as  the  right  reading,  thus  bringing  out  a 
contrast  with  eloquence.  As,  however,  lead  is  frequently  described 
2&  pale,  this  reading  of  all  the  old  editions  should  be  preserved. 

109.   As,  such  as,  as  namely. 

112.  rain  thy  joy.  Compare  /  Henry  IV,  v.  f.  47:  "It  rain'd 
down  fortune  showering  on  your  head."  Rein  is  an  inferior  reading. 

117.  Or  whether.  Whether  is  sometimes  used  after  or  where  we 
should  omit  one  of  the  two.  Compare  Coriolanus,  i.  3.  69 :  "  Or 
whether  his  fall  enraged  him,  or  how  'twas." 


170  Notes  [Act  m 

120.  hairs.  Used  in  the  plural  in  Shakespeare's  day.  Com- 
pare King  John,  Hi.  4.  66 :  "  Bind  up  your  hairs." 

124.  having  made  one.  We  expect  a  verb  agreeing  with  this 
clause  to  follow;  but  in  the  hurry  of  Bassanio's  rapturous  speech 
the  construction  is  not  carried  out.  Such  examples  of  colloquial 
phraseology  in  Shakespeare,  far  from  being  blemishes,  add  greatly 
to  the  dramatic  quality  of  his  dialogue. 

126.    unfurnished,  unmatched  with  its  fellow  eye. 

126,  128.   how  far  .  .  .  so  far,  in  modern  English  as  .  .  .  so. 

140.  Notice  how  Bassanio's  delight  and  exaltation  of  spirit  at 
his  success  is  expressed  in  the  continuance  after  the  "  scroll "  of 
rhyming  lines;  and  how  Portia's  succeeding  lines,  in  their  deep 
seriousness,  drop  back  into  blank  verse. 

141.  /  come  by  note  [in  accordance  with  the  scroll  or  warrant 
just  read]  to  give  [a  kiss]  and  to  receive  [you,  the  lady]. 

145.  Giddy  in  spirit,  still  gazing  in  a  doubt.  Broken  as  this 
line  is,  it  is  not  unmetrical;  spirit  may  have  been  pronounced  as 
one  syllable. 

1 60.  sum  of — nothing.  Preferable  to  the  reading  something, 
of  equally  good  authority,  because  it  conforms  more  with  the 
negations  (unlessortd,  unschooVd,  unpractised}  that  follow,  and  is 
more  in  accord  with  the  careless,  happy  depreciation  of  herself 
which  characterizes  Portia's  whole  speech. 

162.  Happy  in  this.  The  old  editions  all  read  "  Happiest 
is  this,"  explained  by  regarding  Happiest  as  neuter,  the  happiest 
of  all  is  (it  or  this),  etc.  The  emendation  in  preserves  the  con- 
struction ;  happy  in  this  .  .  .  happier  than  this  .  .  .  happiest  of 
all  in,  etc. 

173.  this  ring.  The  giving  of  a  ring  as  a  token  of  fidelity 
is  of  frequent  occurrence  in  the  old  drama.  See  Romeo  and  Juliet, 
iii.  2.  142.  The  employment  of  the  device  of  the  episode  of  Portia's 
ring  to  lighten  the  gravity  of  the  ending  of  this  comedy  is  one 
of  the  happiest  examples  of  Shakespeare's  consummate  dramatic 
skill 


Scene  II]  Notes  171 

176.  vantage,  the  position  of  one  who  is  master  of  the  situation. 
To  exclaim  on  one  is  to  complain  of  one's  conduct.  For  vantage, 
see  Hamlet,  v.  2.  401;  for  exclaim  on,  see  /  Henry  VI,  v.  3.  134. 

1 85.  Expressed  and  not  expressed,  expressed  in  inarticulate  sounds. 

193.  none  from  me,  none  different  from  me,  none  which  I  do 
not  wish  you. 

200.  the  maid.  Nerissa  was  in  no  respect  a  servant.  She  was 
doubtless  as  well  born,  though  not  as  rich,  as  Portia  herself;  and 
bore  the  same  relation  of  friendship  and  companionship  to  Portia 
that  Gratiano,  a  gentleman  by  birth,  bore  to  his  friend  Bassanio. 

214.   shall  be,  in  modern  English  will  be. 

223.  A  question  has  been  raised  as  to  why  Jessica  receives  no 
welcome  from  Portia.  This  is  only  apparent.  General  salutations 
between  the  two  parties  take  place  while  Bassanio  is  speaking;  but 
the  importance  of  Lorenzo's  message  to  Bassanio  usurps  the  place 
which  mere  courtesies  might  otherwise  occupy.  Portia  being  en- 
gaged in  the  interest  which  Antonio's  letter  excites,  Gratiano  (in 
line  240)  calls  Nerissa  to  the  charge  of  Jessica. 

232.  past  all  saying  nay,  beyond  the  possibility  of  refusal. 

240-253.  The  dialogue  of  these  lines  is  carried  on  while  Bas- 
sanio is  reading  Antonio's  letter. 

242.  royal,  a  term  applied  to  the  wealthy  and  powerful  Italian 
merchants  who  aided  kingdoms  with  their  funds,  and  often  held 
mortgages  on  them.  The  Medici  and  the  Pozzi  in  Italy,  the 
Fuggers  in  Germany,  and  Sir  Thomas  Gresham  in  England  were 
merchants  of  this  type.  The  term  here  conveys  no  more  than  a 
complimentary  allusion  to  Antonio's  wealth. 

252.  And  I  must  freely  have  the  half  of  anything,  an  Alex- 
andrine line,  scan  it  how  we  will.  There  is  no  reason  why  we 
should  not  acknowledge  frankly  that,  intentionally  or  inad- 
vertently, Shakespeare  frequently  uses  the  Alexandrine  in  single 
lines  in  his  dramatic  verse. 

275.  it  should  appear.  This  use  of  shall  is  much  like  the  German 
sollen,  which  means  is  to  and  not  quite  ought. 


172  Notes  [Act  in 

280.  And  doth  impeach  the  freedom  of  the  state,  denies  that  those, 
like  himself  not  natives  of  Venice,  have  equal  rights  there  if,  etc. 
See  below,  iv.  I.  38 :  "If  you  deny  it,  let  the  danger  light  Upon  your 
charter  and  your  city's  freedom." 

282.   magnificoes,  the  chief  men  of  Venice  were  so  called. 

295.  unwearied,  that  is  most  unwearied,  the  superlative  is  commu- 
nicated from  the  words  kindest  and  best-conditioned.  Compare 
above,  ii.  I.  46:  "To  make  me  blest  or  cursed'st  among  men." 

304.   thorough,  through,  as  often  spelled. 

315.  Since  you  are  dear  bought  [with  all  the  anxiety  that  I  have 
suffered  while  your  fate  as  a  suitor  hung  in  the  balance]. 

321.  between  you  and  I.  This  is  so  common  as  to  amount  to  an 
Elizabethan  idiom.  Compare  above,  ii.  6.  30.  None  of  the  old 
copies  indicate  that  Bassanio  reads  this  letter,  and  yet,  as  Portia 
asks  to  "  hear  the  letter  of  your  friend,"  the  assignment  of  the 
reading  to  Bassanio  seems  proper.  Dr.  Furness  finely  suggests  that 
Bassanio  read  until  the  words,  "  If  I  might  see  you  at  my  death," 
and  his  voice  failing  him  from  emotion,  that  Portia  finish  the  read- 
ing, and  passionately  add  without  pause  :  "  O  love,  dispatch  all  busi- 
ness and  be  gone! " 

ACT  III.     SCENE  III 

14.   dull-eyed,  wanting  in  perception. 

25.  grant  this  forfeiture  to  hold,  allow  it  to  hold  good. 

26.  deny  the  course  of  law,  refuse  to  let  the  law  take  its  course. 

27.  28.   For  the  commodity  that  strangers  have  [that  is  the  right 
to  trade  and  the  assurance  of  legal  protection  in  their  bargains]  .  .  . 
if  it  [this  right]  be  denied,  it  [this  denial]  will,  etc.     By  others  the 
word  it  is  made  to  refer  to  the  course  of  law,  and  a  comma  is  placed 
after  law,  in  line  26. 

ACT  III.    SCENE  IV 

Portia  entrusts  her  house  to  the  keeping  of  Lorenzo  and  Jessica, 
and,  giving  it  out  that  she  intends  to  retire  with  Nerissa  to  a  neighbour 


Scene  IV]  Notes  173 

•ing  monastery  until  their  plighted  lords'  return,  sends  a  messenger 
to  her  cousin  Bellario,  and  tells  Nerissa  of  her  plan  to  visit  Venice 
in  disguise. 

6.  [To]  How  true  a  gentleman,  the  dative  case.     In  modern 
English  we  use  the  dative  only  when  it  comes  between  the  verb 
and  its  object:  "You  send  your  friend  money." 

7.  lover.     This  word  was  commonly  used  of  friendship  between 
men.     See  Coriolanus,  v.  2.  14:  "Thy  general  is  my  lover." 

9.  customary  bounty  [your  ordinary  benevolence]  can  enforce 
you  [to  be]. 

11.  Nor  shall  not.    The  double  negative  as  above,  i.  2.  28. 

22.  the  praising  of  myself.  "  The  frequently  precedes  a  verbal 
that  is  followed  by  an  object"  (Abbott). 

34.    The  which.     See  above,  i.  3.  4,  and  note  thereon. 

34.  my  love  and  some  necessity  Now  lays.  Note  the  singular 
verb  with  two  subjects. 

49,   Padua,  famous  for  the  learned  jurists  of  its  university. 

52.  with   imagined  speed,  such  as  can  only  be  thought.     Com- 
pare Henry  V,  iii.  prologue :  "  Thus  with  imagined  wing  our  swift 
scene  flies." 

53.  tranect,  perhaps  better  traject  from  the  Italian  traghetto,  a 
ferry. 

59.   Before  they  think  of  us  [of  our  seeing  them]. 

66.  And  speak  between,  etc.  And  speak  with  high,  shrill  voice 
such  as  boys  have  when  they  are  changing  from  childhood  to 
manhood. 

72.  /  could  not  do  withal,  I  could  not  help  it.  A  very  common 
phrase  and  capable  of  no  other  interpretation.  Cf.  below,  iv.  i.  412, 
and  the  note  thereon. 

77.  Jacks,  a  term  of  contempt.  See  Much  Ado  About  Nothing, 
i.  i.  185  :  "Do  you  play  the  flaunting  Jack  ?  " 

81.  all  my  whole  device.     Compare  /  Henry  VI,  \.   I.   126: 
"  All  the  whole  army." 

82.  my  coach.    Towards  the  close  of  Elizabeth's  reign  coaches 


174  Notes  [Act  m 

had  become  very  common  in   England,  although  the  queen  had 
ridden  to  her  coronation  on  horseback. 


ACT  III.    SCENE  V 

4 

This  brief  scene,  which  shows  us  Lorenzo  and  Jessica  in  charge 
of  Belmont  in  the  absence  of  Portia,  produces  the  necessary  effect 
">f  a  lapse  of  time  between  Portia's  departure  and  the  day  of  trial. 

3.   I  fear  you,  I  fear  for  you. 

19.  A  line  from  the  Alexandreis  of  Philip  Qualtier  written  in 
the  thirteenth  century  which  became  proverbial :  Incidis  in  Scyl- 
lam  cupiens  vitare  Charibdim. 

21.  /  shall  be  saved  by  my  husband.  Perhaps  an  allusion  to 
i  Corinthians,  vii.  14 :  "  The  unbelieving  wife  is  sanctified  by  the 
husband." 

28.   a  rasher  on  the  coals,  a  favourite  dish  of  the  time. 

34.  are  out,  have  fallen  out. 

57.  '  cover?  Launcelot  plays  on  the  word  which  means  to  lay 
covers  on  the  table,  that  is  set  the  table,  and  also  to  put  the  hat 
on  the  head.  I  know  my  duty,  and  do  not  wear  my  hat  in  the 
presence  of  my  superiors. 

60.  quarrelling  with  occasion,  quibbling  with  words  at  every 
opportunity. 

70.  O  dear  discretion  [sober  sense  and  fair  meaning],  how 
[absurdly]  his  words  are  suited  [matched  to  the  thought]. 

73.  A  many  fools.     The  a  thus  inserted  before  a  numeral  indi- 
cates that  the  objects  enumerated  are  regarded  collectively  as  one. 
Compare   the   expressions:    "This  nineteen  years,"   "This  many 
years";   and  Tennyson  in    The  Miller's  Daughter:    "They  have 
not  shed  a  many  tear." 

74,  75.  for  a  tricksy  word  Defy  the  matter,  for  the  sake  of  play- 
ing on  the  word  set  the  meaning  at  defiance. 

82,  And  if  on  earth  he  do  not  mean  it.     Mean  is  the  reading  of 


Scene  I]  Notes  175 

all  the  old  editions,  and  various  emendations,  such  as  merit  it  and 
earn  it  have  been  offered.  If  the  reading  of  the  text  is  to  be 
retained,  perhaps  the  best  explanation  is  that  which  gives  to  mean 
it  the  force  of,  "  to  observe  the  mean,  enjoy  blessings  moderately." 
95.  set  you  forth,  describe  you  to  advantage. 


ACT  IV.     SCENE  I 

"  The  trial  Scene,  with  its  tugging  vicissitudes  of  passion  and  its 
hush  of  terrible  expectation,  —  now  ringing  with  the  Jew's  sharp, 
spiteful  snaps  of  malice,  now  made  musical  with  Portia's  strains  of 
eloquence,  now  holy  with  Antonio's  tender  breathings  of  friend- 
ship, and  dashed,  from  time  to  time,  with  Gratiano's  fierce  jets  of 
wrath  and  fiercer  jets  of  mirth,  —  is  hardly  surpassed  in  tragic 
power  anywhere;  and  as  it  forms  the  catastrophe  proper,  so  it  con- 
centrates the  interest  of  the  whole  play"  (Hudson). 

I.  Wha^  an  exclamation  of  attention.  See  below,  lines  46  and 
1 1 1  of  this  scene. 

5,  6.  empty  From.  Shakespeare  also  uses  the  modern  empty  of. 
We  say  free  from. 

8.  obdurate*  accent  on  the  second  syllable. 

9.  And  that,  and  because. 

1 6.  Shylock  shows  great  deference  to  the  Duke,  but  to  no  one 
else  except  to  Portia,  disguised  as  a  young  lawyer,  during  that  part 
of  her  discourse  which  agrees  with  his  claims. 

29.   a  royal  merchant.     See  above,  note  on  iii.  2.  242. 

34.   a  gentle  [Gentile]  answer.     See  above,  note  on  ii.  6.  51. 

37.  the  due  and  forfeit,  the  forfeiture  which  is  due. 

38.  let  the   danger    light,  etc.      Such  a  threat  could  have  had 
little  weight  with  the  Doge  of  Venice,  the  charter  of  which  was 
not  revokable  as  the  gift  of  any  prince. 

43.  But  [I'll]  say,  it  is  my  humour  [my  fancy  or  determination 
to  act  thus],  Shylock  is  not  using  the  word  humour  in  the  later 


176  Notes  [Act  iv 

restricted  sense  which  Jonson  applied  to  it  of  a  ruling  passion  or 
propensity.  By  some  this  passage  is  punctuated:  But,  say  it  is 
my  humour,  i.e.  suppose  it  is  my  humour. 

47.   a  gaping  pig,  a  pig's  head  served  as  a  dish  at  table. 

50.  "for  affection  [either  for  love  or  dislike  —  sympathy  or  antip- 
athy, —  being  the]  master  of  passion,  sways  it  [passion]  to  the 
mood  of  what  it  [affection]  likes  or  loathes"  This,  the  reading  of 
Knight,  has  the  advantage  of  changing  only  one  letter  of  the  origi- 
nal and  doubtless  corrupt  text,  master  for  masters.  Affection, 
emotion  produced  through  the  senses  by  external  objects,  is  here 
as  above,  iii.  i.  62,  distinguished  from  passion,  emotion  stirred 
from  inward  feeling. 

56.  woollen  bag-pipe.  Woollen  is  the  reading  of  all  the  old  edi- 
tions and  doubtless  refers  to  the  material  with  which  the  bag  con- 
taining the  reservoir  of  wind  which  blows  the  pipe  is  covered. 

62.  A  losing  suit,  one  in  which  I  lose  my  money. 

68.  Every  offence  [resentment  for  an  injury],  is  not  a  hate.    In 
bis  reply  Shylock  takes  offence  to  mean  affront,  insult. 

69.  a  serpent  sting  thee  twice.    Dr.  Furness  calls  attention  to  the 
hiss  in  these  words. 

70.  think  [remember],  you  question  [are  arguing]  with  the  Jew, 
[a  man  on  whose  hard,  cruel  nature  you  are  wasting  your  words]. 
Compare  As  You  Like  It,  iii.  4.  38 :  "I  met  the  Duke  yesterday 
and  had  much  question  with  him." 

76.  and  [command  them]  to  make  no  noise. 

82.  with  all  brief  and  plain  conveniency,  with  such  directness  and 
brevity  as  is  fitting  the  case. 

92.  slavish  parts.  Notice  the  actor's  figure  of  the  world  con% 
ceived  as  a  play  in  which  the  various  parts  or  roles  are  distributed. 
Compare  As  You  Like  It,  ii.  7.  142 :  "  And  one  man  in  his  time 
plays  many  parts." 

105.  Bellario,  a  learned  doctor.  The  reputation  of  Bellario,  Por- 
tia's cousin  (see  above,  iii.  4.  50),  must  be  conceived  of  as  such 
that  (like  one  Discalzio,  a  famous  jurist  contemporary  with  Shake- 


Scene  I]  Notes  177 

speare  and  also  of  Padua),  Portia  could  feel  sure  that  the  Doge 
would  consult  him  in  a  case  of  such  moment.  She  was  thus  able 
to  arrange  her  plot  during  the  time  intervening  between  Bassanio's 
departure  from  Belmont  and  the  day  of  the  trial,  and  to  come  into 
court  as  young  Balthasar  accredited  as  a  judge  —  not  as  an  advo- 
cate—  by  the  letter  of  Bellario. 

126.   Scan,  Of  thy  sharp  envy.     Can  no  prayers  pierce  thee? 

129.  And  for  thy  life  let  justice  be  accused.  Let  justice  be  im- 
peached that  she  allows  a  being  so  cruel  to  live. 

131.  Pythagoras,  of  Samos,  who  held  the  doctrine  of  the  trans- 
migration of  souls.  Compare  Twelfth  Night,  iv.  2.  54 : 

"  Clown.    What  is  the  opinion  of  Pythagoras  concerning  wild-fowl  ? 
Malvolio.    That  the  soul  of  our  grandam  might  haply  inhabit  a  bird." 

134.  a  wolf,  who  hang }d for  human  slaughter.  A  connection  has 
been  surmised  between  Shylock  and  the  Jewish  Doctor  Lopez,  an 
alleged  conspirator  against  the  queen,  hanged  at  Tyburn  in  the  very 
year  of  the  earliest  performance  of  this  play.  The  affair  made  a 
great  noise,  and  the  hatred  of  the  people  was  roused  against  the 
Jews,  of  which  there  were  not  a  few  in  England,  although  their 
presence  was  not  officially  allowed. 

134.  who  hang* d  for  human  slaughter.  This  clause  is  an  absolute 
one,  and  not  dependent  on  the  rest  of  the  sentence.  It  is  variously 
called  by  the  grammarians  a  nominative  absolute  or  by  the  Latin 
term  nominativus  pendens,  the  hanging  nominative. 

162.    no  impediment  to  let  him  lack,  no  hindrance  to  his  receiving. 

165.   whose,  for  he.     Compare  King  Lear,  v.  3.  46: 

11  To  send  the  old  and  miserable  king 
To  some  retention  and  appointed  guard ; 
Whose  [for  his]  age  has  charms  in  it." 

170.  your  place,  Portia's  place  as  a  judge  would  be  on  the  dais, 
or  lower  platform  below  the  Doge's  seat,  or  possibly  beside  him. 

MERCH.  OF  VENICE — 12 


178  Notes  [Act  iv 

171.  the  difference  That  holds  this  present  question,  the  dispute  that 
is  the  cause  of  this  discussion. 

182.  Then  must  the  Jew  be  merciful.  Portia  means  to  convey  no 
idea  of  compulsion  in  her  word  must,  but  Shylock  misunderstands 
her. 

184.  The  quality  of  mercy.  Notice  how  naturally  this  splendid 
passage  rises  from  the  necessities  of  the  dialogue.  Compare  Eccle- 
siasticus,  xxxv.  20 :  "  Mercy  is  seasonable  in  the  time  of  affliction 
as  clouds  of  rain  in  the  time  of  drought." 

204.   if  thou  follow,  if  you  insist  on  your  plea  in  all  its  strictness. 

208.   discharge  the  money,  i.e.  the  debt. 

210.  twice  the  sum.  See  below,  line  234,  thrice.  The  disparity 
is  trivial. 

215.  Wrest  once  the  law,  etc.,  for  once  bend  the  law  to  your 
authority. 

217.  curb  .  .  .  of  his  will.  Compare  i  Henry  IV,  iii.  I.  171: 
"  And  curbs  himself  even  of  his  natural  scope." 

223.  A  Daniel  come  to  judgement.  Compare  The  History  of 
Susanna,  45 :  "  The  Lord  raised  up  the  holy  spirit  of  a  young 
child  (youth  in  the  Authorized  Version},  whose  name  was  Daniel." 
Daniel  also  detected  the  imposture  of  the  priests  of  Bel  in  the  Apoc- 
ryphal History  of  Bel  and  the  Dragon. 

241.  power,  pronounced  as  two  syllables. 

248.  Hath  full  relation,  is  fully  applicable.  For  it  is  the  meaning 
of  the  law  that  the  penalty  attached  to  each  bond  shall  be  paid  as 
therein  provided;  and  this  applies  to  the  present  case. 

251.  more  elder.  Shakespeare  frequently  employs  the  double 
comparative.  Compare  The  Tempest,  i.  2.  439 :  "  his  more  braver 
daughter." 

254.  '  Nearest  his  heart!  When  Shylock  suggested  the  forfeit 
he  stipulated  for 

"  an  equal  pound 

Of  your  fair  flesh,  to  be  cut  off  and  taken 
In  what  part  of  your  body  pleaseth  me." 


Scene  I]  Notes  179 

The  specification  '  nearest  his  heart  *  must  be  supposed  an  agree- 
ment at  the  signing  of  the  bond. 

255.    Scan,  //  is  so.         Are  there  balance  here  to  weigh  ? 

255.  balance.  This  word  was  used  both  as  a  singular  and  a 
plural  in  Shakespeare's  time.  Confusion  as  to  the  number  of 
words  ending  in  a  sibilant,  s  or  c,  is  very  frequent. 

275.  speak  me  fair  in  death,  speak  kindly  of  me  when  I  am 
dead.  Compare  Henry  VIII,  iv.  2.  32:  "Yet  thus  far,  Griffith, 
give  me  leave  to  speak  him." 

277.  love,  lover,  true  friend. 

278.  Repent  but  you,  only  so  much  as  regret  that  you  have  lost 
your  friend,  and  your  friend  regrets  not  that  he  pays  your  debt. 

281.  with  all  my  heart.  A  jest  such  as  this  heightens  the  pathos 
of  the  situation  and  is  very  true  to  life.  Compare  John  of  Gaunt's 
jest  on  his  name  when  he  is  on  his  death-bed,  Richard II,  ii.  I. 

73-83. 

283.  Which  for  who  was  common,  and  used  at  times  for  emphasis. 
Compare  the  Lord's  Prayer. 

296.  Barrabas,  so  spelled  and  pronounced  by  Shakespeare  and 
Marlowe.  Shylock  affects  to  be  shocked  at  the  impiety  of  these 
"Christian  husbands." 

305.  Tarry  a  little.  Much  has  been  written  on  the  law  involved 
in  this  famous  case.  Portia's  first  plea,  that  the  law  allowed  the 
pound  of  flesh  but  no  drop  of  blood,  is  a  pure  quibble,  and  would 
have  been  accepted  in  no  court  of  Europe.  Her  second  plea,  that 
the  portion  cut  must  be  precisely  a  pound,  and  neither  more  or 
less,  is  no  better,  as  the  law  cannot  demand,  in  the  performance 
of  a  contract,  an  utter  impossibility.  The  third  plea  of  Portia,  that 
in  which  she  invokes  the  law  of  Venice  against  any  alien  who  plots 
against  the  life  of  a  citizen,  is  sound  and  sufficient;  and  on  this  the 
case  is  properly  decided.  It  has  been  surmised  that  this  last  plea 
is  the  defence  of  Bellario,  the  learned  Doctor  of  Padua;  and  that 
the  more  brilliant  and  specious,  if  legally  unsound,  pleas  are  the 
product  of  Portia's  woman's  wit.  It  is  more  likely  that  we  have  in 


i8o  Notes  [Act  iv 

the  whole  story  of  the  bond  what  has  always  been  the  current 
popular  conception  of  law  —  that  it  deals  with  the  letter  of  men's 
agreements  and  is  little  tempered  by  the  spirit  of  equity.  This 
notion  was  almost  as  false  in  the  time  of  Shakespeare  as  to-day. 

327.  a  just  pound,  an  exact  pound.     Compare  an  equal  pound, 
above,  i.  3.  150. 

328.  in  the  substance,  in  the  weight. 

334.  Compare  i.  3.  47. 

335.  pause.     At  this  point  the  play  hangs  between  tragedy  and 
comedy.     Shylock  had  sworn  to  have  his  bond.     Might  he  not 
have  kept  his  oath  and,  taking  his  bloody  forfeit,  have  pulled  down 
Antonio  and  himself  in  one  common  ruin?     Such  sympathy  as  we 
feel  for  Shylock  is,  to  a  large  degree,  the  result  of  the  more  tolerant 
spirit  of  modern  time.     With  his  choice  here  made,  —  and  that 
choice  involves  an  abject  confession  that  "  sufferance  is  the  badge 
of  all  our  tribe,"  —  even  our  respect  vanishes,  and  we  see  in  Shy- 
lock  nothing  but  the  malevolent  and  remorseless  usurer,  cowed  in 
the  moment  of  his  long-sought  revenge  and  slinking  away  foiled 
and  baffled.     It  is  plain  that   The  Merchant  of  Venice  could  not 
have  contained  the  happy  story  of  Portia  and  the  caskets  and  at 
the  same  time  have  ended  as  a  tragedy. 

352.  party,  here  used  in  its  legal  sense,  a  party  to  a  suit. 

357.  predicament.  This  word  was  originally  a  term  in  logic, 
meaning  much  the  same  as  category.  It  had  already  reached  its 
popular  acceptance  in  Shakespeare's  time. 

362.  formerly,   a   legal  term,  equivalent   to  the  more  modern 
aforesaid. 

363.  Down  [on  your  knees],  therefore. 

372.  Which    humbleness    [submission]    may    drive    [commute] 
unto  a  fine. 

373.  Ay,  for  the  state,  not  for  Antonio.     The  half  which  comes 
to  the  state  may  be  commuted  to  a  fine,  but  not  the  half  which 
comes  to  Antonio. 

380-385.     So  [If  it]  please  my  lord.  ...     To  quit  [release]  the 


Scene  II]  Notes  1 8 1 

fine  for  one  half  of  his  goods  [the  half  which  the  state  was  to  have 
received],  I  am  content ;  so  [provided  that]  he  [Shylock]  will  let  me 
have  The  other  half  [which  was  awarded  to  me]  in  use  [in  trust  for 
the  benefit  of  Jessica],  to  render  [return]  it,  Upon  his  [Shylock's] 
death,  unto  the  gentleman  That  lately  stole  his  daughter. 

399.  ten  more  [godfathers]  to  make  up  twelve,  the  number  of  a 
jury. 

402.  desire  your  grace  of  pardon.  Compare  A  Midsummer  Nighfs 
Dream,  iii.  I.  185  :  "I  shall  desire  you  of  more  acquaintance." 

405.   serves  you  not,  is  not  at  your  command. 

412.  withalv*  here  a  preposition  governing  ducats  and  equivalent 
to  with.  This  preposition  always  follows  its  object.  Compare 
Measure  for  Measure,  iv.  3.  145  :  "  Her  cause  and  yours  I'll  per- 
fect him  withal."  Elsewhere  the  word  performs  more  the  function 
of  an  adverb.  See  above,  iii.  4.  72 :  "I  could  not  do  withal ;  " 
and  below,  iv.  I.  450. 

418.  more  mercenary,  mercenary  beyond  a  desire  for  the  grati- 
fication that  comes  from  the  doing  of  a  good  deed. 

447.  hold  out  enemy.  Compare  Much  Ado  About  Nothing,  i. 
I.  91 :  "I  will  hold  friends  with  you." 

451.  commandement.  Here  the  old  spelling,  which  is  preserved 
in  the  text,  conveys  the  old  pronunciation  in  four  syllables  and 
saves  the  metre.  Compare  /  Henry  VI,  i.  3.  20 :  "  From  him  I 
have  express  commandement."  Elsewhere  in  Shakespeare  this 
word  is  pronounced  as  now.  See  The  Winter's  Tale,  ii.  2.  8. 

ACT  IV.     SCENE  II 

Notice  the  care  with  which  Portia,  as  Balthasar,  carries  out  her 
professional  duty  in  sending  the  deed  to  Shylock  for  his  signature ; 
and  how  her  request  that  Gratiano  show  the  way  to  the  Jew's  house 
affords  to  Nerissa  an  opportunity  to  get  back  her  ring  from  her 
husband  also. 

15.   old  swearing,  great,  plenty  of  swearing. 


182  Notes  [Act  v 


ACT  V.     SCENE  I 

In  this,  the  single  scene  of  the  last  act,  we  have  the  happy  con- 
clusion of  the  story  of  the  caskets  fretted  and  prolonged  by  the 
charming  episode  of  the  rings.  Notice  how,  after  the  contending 
passions  of  the  trial  scene,  the  peace  and  beauty  of  Belmont  is 
heightened  by  the  lovers'  talk  of  Lorenzo  and  Jessica;  how  happily 
Portia's  mischievous  raillery  of  Bassanio  for  parting  with  her  ring 
stops  short  of  excess  ;  and  how  the  gentleman  and  the  soldier  are 
disclosed  in  Bassanio  who,  in  his  sore  trouble,  does  not  breathe  in 
excuse  that  it  was  Antonio  that  did  "  enforce  "  him  to  send  the 
ring  after  Balthasar.  (See  above,  iv.  I.  449.) 

4.  Troilus,  son  of  Priam.  The  story  of  Troilus  and  Cressida 
was  well  known  to  the  contemporaries  of  Shakespeare  not  only  from 
Chaucer's  treatment  of  it  but  from  a  play  on  the  subject  staged  be- 
fore Shakespeare's  drama  of  that  title. 

7.  Thisbe.  The  story  of  the  unfortunate  lovers,  Pyramus  and 
Thisbe,  told  by  .Ovid  in  his  Metamorphoses,  iv.  55-166,  was  trans- 
lated by  Golding  in  1564.  Shakespeare  employs  it  in  burlesque  in 
the  last  act  of  A  Midsummer  Nighfs  Dream.  In  editions  of 
Chaucer's  works  Troylus  and  Cryseyde  immediately  precedes  The 
Legende  of  Goode  Women  in  which  Thisbe,  Dido,  and  Medea  are 
mentioned  in  the  order  preserved  by  Shakespeare  in  this  passage. 

10.  The  willow  is  an  English,  not  a  classical,  emblem  of  forsaken 
love.     Compare  j  Henry   VI,  iii.   3.  228:    "I'll  wear  the  willow 
garland  for  his  sake." 

11.  waft,  for  waffd,  from  wafted.    This  contraction  is  not  un- 
usual.     Compare    King  John,    ii.    I.    72:    "A  braver   choice    of 
dauntless  spirits  Than  now  the  English  bottoms  have  waft  o'er." 

13.  Medea,\\\z  enchantress  of  Colchos.  An  allusion  in  harmony 
with  the  weird  mysteriousness  of  night,  as  well  as  with  Jessica's 
story,  who,  like  Medea,  "  carried  off  her  father's  treasure  and  ran 
away  with  her  lover." 


Scene  I]  Notes  1 83 

14.  That  did  renew  old  &son.     According  to  Ovid,    Metamor- 
phoses, vii.    162,  yEson   was  restored  to  youth  by  his   daughter, 
Medea. 

15.  steal,  a  teasing  word  of  the  lover,  deliberately  turned  aside 
by  Jessica  in  her  reply,  stealing  her  soul,  etc. 

25.  in  [the]  silence.  Compare  for  this  omission  of  the  article, 
Othello >,  ii.  I.  24 :  "On  [the]  most  part  of  their  fleet." 

28.    Stephano,  pronounced  here  and  below,  line  51,  Stephano. 

31.  By  holy  crosses,  in  allusion  to  the  many  wayside  shrines  of 
Roman  Catholic  countries  at  which  the  devout  are  accustomed  to 
kneel  in  prayer. 

35.  nor  we  have  not.  Note  the  double  negative  and  compare 
iii.  4.  ii. 

37.  ceremoniously  let  us  prepare  Some  welcome,  let  us  prepare 
some  ceremonious  welcome. 

39.  Sola,  sola.  Launcelot  is  imitating  the  horn  of  a  post  or 
courier.  He  comes  in,  circles  about  Lorenzo  and  Jessica  without 
once  looking  at  them,  delivers  his  message,  and  is  off. 

57.   touches,  the  act  of  the  hand  of  the  musician  on  the  strings. 

59.  patines  of  bright  gold.  The  patine  is  a  plate  used  in  the 
Eucharist  and  has  been  variously  interpreted  here  to  signify  the 
stars  themselves,  or  better,  considering  that  the  stars  shine  faintly 
on  a  moonlit  night,  "  the  broken  clouds,  like  flaky  disks  of  curdled 
gold,  which  slowly  drift  across  the  heavens  and  veil  at  times  the 
brightness  of  the  moon  "  (Furness) . 

61.  like  an  angel  sings.     Shakespeare  elsewhere  refers  to  the 
Platonic  idea  that  the  eight  spheres  revolve,  guided  each  by  its 
siren  (or  angel),  who  sings  in  the  tone  of  her  own  sphere,  produc- 
ing harmony  in  the  united  tones.    (De  Republica,  X.)     See  Antony 
and  Cleopatra,  v.   2.   83 :    "  His  voice  was  propertied  As  all  the 
tuned  spheres  ;  "  and  Pericles,  v.  I.  231.     See  also  Job,  xxxviii.  7 : 
"  The  morning  stars  sang  together." 

62.  cherubins.    Cherubin  was  often  conceived  of  as  a  singular, 
hence  the  double  plural  here. 


1 84  Notes  [Act  v 

65.  Doth  grossly  close  it  in,  we  cannot  hear  it.     Close  .  .  .  in  is  a 
compound  verb,  enclose ;  it  refers  to  sou/,  not  to  harmony.     The 
reading  it  in  for  in  it  is  defensible  on  the  score  of  euphony,  if  for 
no  better  reason. 

66.  Diana,  the  goddess  of  the  moon. 

72.   unhandled  colts.     Compare   The   Tempest,  iv.  I.  175: 

"  Then  I  beat  my  tabor, 

At  which,  like  unback'd  colts,  they  prick'd  their  ears, 
Advanced  their  eyelids,  lifted  up  their  noses, 
As  they  smelt  music." 

77.  perceive  them  [to]  make,  etc. 

79.  the  poet,  Ovid. 

80.  Orpheus.     See  Metamorphoses,  x  and  xi ;  and  compare  the 
song,  Henry  VIII,  iii.  1.3: 

"  Orpheus  with  his  lute  made  trees, 
And  the  mountain  tops  that  freeze, 

Bow  themselves  when  he  did  sing." 

84.   Nor  is  not.     Compare  above,  iii.  4.  1 1 . 

86.  spirit,  one  syllable,  sprite,  as  frequently  elsewhere.     Com- 
pare ii.  2.  196. 

87.  Erebus,  the  gloomy  space  under  the  earth  through  which  the 
shades  pass  on  their  way  to  Hades. 

89.  The  talk  of  Lorenzo  and  Jessica,  the  music  playing  all  the 
while,  prevents  them  from  hearing  the  approach  of  Portia  and 
Nerissa,  who  enter  on  the  other  side  opposite  to  the  garden-seat 
on  which  the  lovers  are  seated. 

108.  To  their  right  praise,  so  that  they  obtain  the  honour  which 
they  deserve. 

109.  Endymion,  the  shepherd,  sleeping  on  Mount  Latmos,  was 
seen  and  beloved  by  Selene  or  Diana,  the  moon,  who  came  down 
to  kiss  him  and  rest  at  his  side. 

112.  as  the  blind  man,  etc.,  referring  to  a  case  in  which  a  blind 
man  is  at  no  advantage  over  his  neighbours  possessed  of  sight. 


Scene  I]  Notes  185 

115.    Which,  who  \_i.e.  our  husbands]  speed,  we  hope,  etc. 

121.  tucket,  from  the  Italian  toccata,  a  peculiar  set  of  notes  played 
on  the  trumpet  to  denote  the  arrival  of  a  given  person.  Lorenzo 
recognizes  the  notes  as  indicating  the  approach  of  Bassanio. 

127.  hold  day.  We  should  have  daylight  when  those  who  dwell 
on  the  opposite  side  of  the  globe  (the  Antipodes)  have  it,  if  Portia, 
our  sun,  were  to  walk  by  night. 

129.  For  similar  .plays  on  the  word  light,  see  above,  ii.  6.  42, 
and  iii.  2.  91. 

132.  God  sort  all,  God  dispose  all.  Compare  Richard  III,  ii.  3. 
36:  "  If  God  sort  it  so." 

136.   in  all  sense,  in  all  reason. 

141.  this  breathing  courtesy,  one  consisting  merely  in  breath, 
that  is,  words. 

142.  Gratiano  and  Nerissa  have  been  conversing  apart  in  dumb 
show. 

148.   Scan,  That  she  did give  me,        whose  posy  was. 

148.  posy,  a  motto  inscribed  on  a  ring,  a  knife,  or  other  article. 

150.  leave  me  not,  do  not  part  with  me. 

151.  What  talk  you,  etc.     Compare  Coriolanus,  iii.  3.  83 :  "  What 
do  you  prate  of  service  ?"  where  similar  impatience  is  denoted. 
And  see  above,  ii.  5,  3 :    "  What,  Jessica !  " 

177.  /  were  best  to,  I  had  better.  Compare  note  on  ii.  8.  33, 
above. 

193.  If  you  did  know,  etc.  Verses  such  as  these,  in  which  the 
same  word  or  phrase  is  repeated  again  and  again,  were  very  com- 
mon in  the  older  drama  and  were  used  as  serious  ornaments  of 
style,  and  not,  as  here  so  much  more  fitly,  to  mark  the  amusing 
discomfiture  of  Bassanio  and  Portia's  mocking  retort. 

199.  virtue,  power,  for  the  possessor  was  master  of  Portia  and 
ail  that  was  hers.  See  above,  iii.  2.  171. 

204.  had  pleased  to  have  defended,  for  had  pleased  to  defend 
The  double  perfect  was  not  uncommon. 

205.  wanted,  as  to  have  wanted. 


1 86  Notes  [Act  v 

206.   ceremony,  a  thing  or  observance  held  sacred. 

214.  Even  he,  referring  back  to  a  civil  doctor  Which  did  refuse, 
and  regarding  the  intervening  clauses  as  parenthetical. 

217.  shame  [at  being  thought  ungrateful]  and  [a.  sense  of  what] 
courtesy  [demanded  of  me]. 

220.  candles  of  the  night.  Compare  Romeo  and  Juliet,  iii.  5.  9 : 
"  Night's  candles  are  burnt  out." 

250,  251.  Which  .  .  .  had  quite  miscarried.  Which  refers  to 
Antonio's  loan  of  his  body  for  the  wealth,  i.e.  prosperity,  of  Bas- 
sanio.  Miscarried  is  metaphorical  as  applying  to  the  loan  as  a 
venture. 

296.  not  satisfied.  You  have  not  yet  heard  all  the  details  of 
these  events. 

298.  charge  us  there  upon  inter1  gator ies.  According  to  Lord 
Campbell,  Shakespeare's  Legal  Acquirements,  p.  62 :  "  In  the 
Court  of  Queen's  Bench,  when  a  complaint  is  made  against  a  per- 
son for  a  *  contempt,'  the  practice  is  that  before  sentence  is  finally 
pronounced  he  is  sent  into  the  Crown  Office,  and  being  there 
*  charged  upon  interrogatories,'  he  is  made  to  swear  that  he  '  will 
answer  all  things  faithfully.'" 


A    HISTORY    OF    ENGLISH 
LITERATURE 

By    REUBEN    POST    HALLECK,    M.A.    (Yale), 
Louisville  Male  High  School.      Price,  £1.25 


HALLECK'S   HISTORY    OF   ENGLISH   LIT- 
ERATURE traces  the  development  of  that  litera- 
ture   from    the    earliest  times  to   the  present  in  a 
concise,  interesting,  and  stimulating  manner.    Although  the 
subject  is  presented  so  clearly  that  it  can  be  readily  com- 
prehended by  high  school  pupils,  the  treatment  is  sufficiently 
philosophic  and  suggestive  for  any  student  beginning  the 
study. 

^|  The  book  is  a  history  of  literature,  and  not  a  mere  col- 
lection of  biographical  sketches.  Only  enough  of  the  facts 
of  an  author's  life  are  given  to  make  students  interested  in 
him  as  a  personality,  and  to  show  how  his  environment 
affected  his  work.  Each  author's  productions,  their  rela- 
tions to  the  age,  and  the  reasons  why  they  hold  a  position 
in  literature,  receive  adequate  treatment. 
^[  One  of  the  most  striking  features  of  the  work  consists  in 
the  way  in  which  literary  movements  are  clearly  outlined  at 
the  beginning  of  each  chapter.  Special  attention  is  given  to 
the  essential  qualities  which  differentiate  one  period  from 
another,  and  to  the  animating  spirit  of  each  age.  The  author 
shows  that  each  period  has  contributed  something  definite 
to  the  literature  of  England. 

^[  At  the  end  of  each  chapter  a  carefully  prepared  list  of 
books  is  given  to  direct  the  student  in  studying  the  original 
works  of  the  authors  treated.  He  is  told  not  only  what  to 
read,  but  also  where  to  find  it  at  the  least  cost.  The  book 
contains  a  special  literary  map  of  England  in  colors. 


AMERICAN      BOOK      COMPANY 

CS.90) 


A  HISTORY  OF  AMERICAN 
LITERATURE 

By  REUBEN  POST  HALLECK,  M.A., 

Principal,  Male  High  School,  Louisville,  Ky. 

$1.25 


A  COMPANION  volume  to  the  author's  History  of 
English  Literature.  It  describes  the  greatest  achieve- 
ments in  American  literature  from  colonial  times  to 
the  present,  placing  emphasis  not  only  upon  men,  but  also 
upon  literary  movements,  the  causes  of  which  are  thor- 
oughly investigated.  Further,  the  relation  of  each  period 
of  American  literature  to  the  corresponding  epoch  of 
English  literature  has  been  carefully  brought  out — and 
each  period  is  illuminated  by  a  brief  survey  of  its  history . 
^[  The  seven  chapters  of  the  book  treat  in  succession 
of  Colonial  Literature,  The  Emergence  of  a  Nation 
(1754-1809),  the  New  York  Group,  The  New  England 
Group,  Southern  Literature,  Western  Literature,  and  the 
Eastern  Realists.  To  these  are  added  a  supplementary 
list  of  less  important  authors  and  their  chief  works,  as  well 
as  A  Glance  Backward,  which  emphasizes  in  brief  compass 
the  most  important  truths  taught  by  American  literature. 
^|  At  the  end  of  each  chapter  is  a  summary  which  helps 
to  fix  the  period  in  mind  by  briefly  reviewing  the  most  sig- 
nificant achievements.  This  is  followed  by  extensive  his- 
torical and  literary  references  for  further  study,  by  a  very 
helpful  list  of  suggested  readings,  and  by  questions  and 
suggestions,  designed  to  stimulate  the  student's  interest  and 
enthusiasm,  and  to  lead  him  to  study  and  investigate  fur- 
ther for  himself  the  remarkable  literary  record  of  American 
aspiration  and  accomplishment. 


AMERICAN     BOOK     COMPANY 

<S.3>8> 


COMPOSITION-RHETORIC 

By  STRATTON  D.  BROOKS,  Superintendent  of 
Schools,  Boston,  Mass.,  and  MARIETTA  HUB- 
BARD,  formerly  English  Department,  High  School, 
La  Salle,  111.  Price,  $1.00 


THE  fundamental  aim  of  this  volume  is  to  enable  pupils 
to  express  their  thoughts  freely,  clearly,  and  forcibly. 
At  the  same  time  it  is  designed  to  cultivate  literary 
appreciation,  and  to  develop  some  knowledge  of  rhetorical 
theory.     The  work  follows  closely  the  requirements  of  the 
College  Entrance  Examination  Board,  and  of  the  New 
York  State  Education  Department. 

^[  In  Part  One  are  given  the  elements  of  description,  narra- 
tion, exposition,  and  argument;  also  special  chapters  on  let- 
ter-writing and  poetry.  A  more  complete  and  comprehensive 
treatment  of  the  four  forms  of  discourse  already  discussed  is 
furnished  in  Part  Two.  In  each  partis  presented  a  series  of 
themes  covering  these  subjects,  the  purpose  being  to  give  the 
pupil  inspiration,  and  that  confidence  in  himself  which  comes 
from  the  frequent  repetition  of  an  act.  A  single  new  princi- 
ple is  introduced  into  each  theme,  and  this  is  developed  in 
the  text,  and  illustrated  by  carefully  selected  examples. 
^j  The  pupils  are  taught  how  to  correct  their  own  errors, 
and  also  how  to  get  the  main  thought  in  preparing  their 
lessons.  Careful  coordination  with  the  study  of  literature 
and  with  other  school  studies  is  made  throughout  the  book. 
^[  The  modern  character  of  the  illustrative  extracts  can  not 
fail  to  interest  every  boy  and  girl.  Concise  summaries  are 
given  folio  wingthe  treatment  of  the  various  forms  of  discourse, 
and  toward  the  end  of  the  book  there  is  a  very  comprehensive 
and  compact  summary  of  grammatical  principles.  More  than 
usual  attention  is  devoted  to  the  treatment  of  argument. 


AMERICAN    BOOK   COMPANY 


TEACHERS'      OUTLINES 
FOR  STUDIES  IN  ENGLISH 

Based  on  the  Requirements  for  Admission  to  College 

By  GILBERT  SYKES  BLAKELY,  A.M.,  Instructor  in 
English  in  the  Morris  High  School,  New  York  City. 

Jo.  50 


THIS  little  book  is  intended  to  present  to  teachers 
plans  for  the  study  of  the  English  texts  required  for 
admission   to  college.      These  Outlines   are  full   of 
inspiration  and  suggestion,  and  will  be  welcomed  by  every 
live  teacher  who  hitherto,  in  order  to  avoid  ruts,  has  been 
obliged  to  compare  notes  with  other  teachers,  visit  classes, 
'and  note  methods.      The  volume  aims  not  at  a  discussion  of 
the  principles  of  teaching^  but  at  an  application  of  certain 
principles   to  the  teaching   of  some   of  the   books   most 
generally  read  in  schools. 

^[  The  references  by  page  and  line  to  the  book  under 
discussion  are  to  the  texts  of  the  Gateway  Series;  but  the 
Outlines  can  be  used  with  any  series  of  English  classics. 
^[  Certain  brief  plans  of  study  are  developed  for  the 
general  teaching  of  the  novel,  narrative  poetry,  lyric 
poetry,  the  drama,  and  the  essay.  The  suggestions  are 
those  of  a  practical  teacher,  and  follow  a  definite  scheme 
in  each  work  to  be  studied.  There  are  discussions  of 
methods,  topics  for  compositions,  and  questions  for  review. 
The  lists  of  questions  are  by  no  means  exhaustive,  but 
those  that  are  given  are  suggestive  and  typical. 
^[  The  appendix  contains  twenty  examinations  in  English, 
for  admission  to  college,  recently  set  by  different  colleges 
in  both  the  East  and  the  West. 


AMERICAN  BOOK  COM  PA  NY 

(S.87) 


THE  SHORT-STORY 

Specimens  Illustrating  Its  Development 

By   BRANDER  MATTHEWS,  LL.  D.,   D.  C.  L., 

Litt.  D.,  Professor  of  Dramatic  Literature,  Columbia 
University. 

$I.OO 


THE  short-story  is  distinguished  from  the  novel  by  its 
brevity,  and  from  the  more  brief  tale  by  its  unity,  its 
totality,  its  concentration  upon  a  single  effect  or  a 
single  sequence  of  effects. 

^j  In  this  book  a  group  of  twenty-four  specimen  stories 
have  been  selected  to  show  the  development  of  the  form — 
the  slow  evolution  of  this  literary  species  through  the  long 
centuries  of  advancing  civilization.  The  earlier  tales  here 
presented  are  not  true  short-stories  ;  each  of  them  lacks 
one  or  another  of  the  essential  characteristics  of  the  type. 
The  more  modern  examples  are  true  short-stories;  and 
they  have  been  chosen  to  exhibit  the  many  varieties  possi- 
ble within  the  species.  They  have  been  selected  from 
the  chief  modern  literatures,  English,  French,  German, 
Russian,  and  Norwegian  ;  and  they  present  many  con- 
trasting shades  of  local  color. 

^j  The  introduction  traces  the  growth  of  the  form  through 
the  history  of  literature  and  seeks  to  set  forth  the  attain- 
ment of  the  type.  The  notes  prefixed  to  the  several 
specimens  outline  briefly  the  biographies  of  the  authors,  and 
discuss  succinctly  their  literary  position.  The  notes 
appended  to  each  of  the  specimens  are  intended  to  call 
the  attention  of  the  student  to  the  merits  and  the  defects  of 
that  particular  story  considered  as  an  example  of  the  form. 


AMERICAN     BOOK     COMPANY 


THE   MASTERY  OF  BOOKS 

By  HARRY  LYMAN  KOOPMAN,  A.M.,  Librarian 
of  Brown  University.      Price,  90  cents 


IN    this   book    Mr.    Koopman,    whose  experience  and 
reputation  as  a  librarian  give  him  unusual  qualifications 
as  an  adviser,  presents  to  the  student  at  the  outset  the 
advantages  of  reading,  and  the   great  field    of  literature 
open  to  the  reader's  choice.     He  takes  counsel  with  the 
student  as  to  his  purpose,  capacities,  and  opportunities  in 
reading,  and  aims  to  assist  him  in  following  such  methods 
and  in  turning  to  such  classes  of  books  as  will  further  the 
attainment  of  his  object. 

^[  Pains  are  taken  to  provide  the  young  student  from  the 
beginning  with  a  knowledge,  often  lacking  in  older  readers, 
of  the  simplest  literary  tools — reference  books  and  cata- 
logues. An  entire  chapter  is  given  to  the  discussion  of 
the  nature  and  value  of  that  form  of  printed  matter  which 
forms  the  chief  reading  of  the  modern  world — periodical 
literature.  Methods  of  note- taking  and  of  mnemonics 
are  fully  described ;  and  a  highly  suggestive  and  valuable 
chapter  is  devoted  to  language  study. 
^|  One  of  the  most  valuable  chapters  in  the  volume  to 
most  readers  is  that  concerning  courses  of  reading.  In 
accordance  with  the  author's  new  plan  for  the  guidance 
of  readers,  a  classified  list  of  about  fifteen  hundred  books 
is  given,  comprising  the  most  valuable  works  in  reference 
"books,  periodicals,  philosophy,  religion,  mythology  and 
folk-lore,  biography,  history,  travels,  sociology,  natural 
sciences,  art,  poetry,  fiction,  Greek,  Latin,  and  modern 
literatures.  The  latest  and  best  editions  are  specified,  and 
the  relative  value  of  the  several  works  mentioned  is  indi- 
cated in  notes. 


AMERICAN   BOOK   COMPANY 

(S.  106) 


UNIVERSITY  OF  CALIFORNIA 
BERKELEY 

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